PR 4399 
.B3 D4 
Copy 1 



PRICE IS CENTK 




DE WITT'S ACTING- PLAYS. 

(Number 16.) 




DEARER THAN LIFE 



A SEKIOCOMIC DRAMA. 

IN THREE ACTS. 

By HENEY J. BYKON, 

Author of -£100,000." " William Tell, with a Vengeance." "Aladdin." </c 



AS FIRST PRODUCED AT THE ROYAL ALEXANDRA THEATRE, 

LIVERPOOL, UNDER THE MANAGEMENT OF MR. E. 

ENGLISH. NOVEMBER 25TH, 1867. 



TO WHICH ARE ADDED 



A desciiption of the Costume— Cast of the Characters — Entrances and Exits- 
Relative Positions of the Performers en the Stage, and 
the whole of the Stage Business. 



-*-►•<•►<«-«- 



Jleto-gork : 
ROBERT M. DE WITT. PUBLISHER, 

€\ o o (3 ^ 

.ifkJP X <*. 33 Hose St.rrr.t. C m2\_ 

i 

____* ' MILKY WHITE. A Domestic Drama, in Ttfo Acts. By H. T. Craven. 
J\OH I 1>ri( . (> Fifteen Cen I. 

READY, i NO THOROUGHFARE. A Drama, in Five Acta and a Prologue, 

^ By '. harlos Dickens and Wiltie Collins. Price Fifteen Cents. 



iy_onog»Pb 



DE WiTT'S HALF-DIME MUSIC 

OP THE BEST SONGS FOR VOICE AND PIANO. 




JS SECRlES of Jirst class Songs contains the 
Words and Music {with the Piano accompaniment) 
of the most choice and exquisite Pieces, by the most 
able, gifted and most popular composers. It contains 
every style of good Music— from the solemn and 
pathetic to the light and humorous. In brief this 
collection is a complete Musical! Library in itself both of Vocal 
and Piano-Forte Music. It is printed from new, clear, distinct, 
elegant Music Type, on fine white paper, made expressly for 
this Series, and is published at the low price of Five Cents. 

Remember, Each Number, contains a Complete Piece of 
Music, beautifully printed on Sheet Music Paper. 

Any Twenty Pieces mailed on receipt of One Dollar, postage paid. 
tW PLEASE ORDER BY THE NUMBERS. ~&k 

Address, R. M. DE WITT, Publisher, 

S3 Hose Street, JV, T. 

SENTIMENTAL SONGS AND BALLADS. 

Composer. 

Laser's Letter>Box Wrigh ton. 

Thy Voice is Sear Wrighton. 

Bine-Eyed Violets Jackson. 

The Maiden and Her Linnet. 

Montgomery. 

Soft Dew is Sleeping Barker. 

When the Roses Blow Allen. 

Beautiful Bells Coote. 

The Mother's Dream Sullivan. 

My Spirit Star Young. 

Little Maggie May Blamphin. 

The Vagabond Molloy. 

My Heart is O'er the Sen. .Claribel. 

Maggie's 'Welcome Claribel. 

Dreaming of Nellie Hogett. 

Five O'Clock in the Morning. 

Claribel. 
She Came and Vanished Like a 

Dream Boucher. 

Meet Me in the Lane Blamphin. 

Tapping at tho Garden Gate. 

Sleeping on Guard Wrig-hton. 

Summer Dew Barker. 

•h. My Lost Love Plumpton. 



44. 

f« 

SO. 

St. 

S3. 

SS. 

S6. 

3t. 

38. 

35. 

as. 



41. 
43. 
45. 

4V. 
48. 



No. 




Composer. 


St. 


Ear Away 


BUM. 


SS. 


Jess Macfarlane 


Tucker. 


5-J. 


Yes, I'll Meet Thee. 


Dearest. 

Blamphin. 


«». 


Hattie Bell 




61. 


Whisper "Yes," or "Mo," Love. 






" Artele." 


6*. 


Her Bright Smile 


Haunts Me 


63. 


Oh. Cast that Shado 


w from Thy 








64. 


Love Not 


Blockley. 


65. 


She Wore a Wreath of Roses. 






Knight. 


to. 


Pretty Little Dark Eyes. ... Parker. 


?a. 


When we went a Gleaning. 






Oanz. 


?4. 


Mary of Argyle 


Nelson. 


t.». 


What Did Little Birdie Say? 






Balfe. 


■7G. 


Sing, Birdie, Sing . . 


Oanz. 


SH. 


Spring-Time of Life. 


Jackson. 


?». 


Nightingale's Trill.... 


Oanz. 



of above plays 

BOBERT M. DE WITT, Publisher, 

33 Rose Street, N. 7 



Allow me to direct your atten- 
tion to the fact that I have just pub- 
lished a COMPLETE EDITION of 
BULWER'S DRAMATIC WORKS, 

suitable for the Library, in one volume, 
cloth, gold lettered, price One Dollar and 
Fifty Cents. 

De Witt's Acting Edition Bulwer's Plats; being 
the complete Dramatic Works of Lord Lytton (Sir 
Edward Lytton Bulwer, Bart), comprising "The Lady 
of Lyons;" "Money;" "Richelieu;" "The Rightful 
Heir;" "Walpole;" "Not So Bad As We Seem;" "The 
Duchess de la Vallierre." From the author's original 
text. An entirely new Acting Edition. By John M. 
Kingdom. 

ROBERT M. DE WITT, Publisher, 

33 Rose Street N. Y. 



Now Beady.— Tennyson's Great Play. QUEEN 
MARY, Properly prepared for the Stage. The 
only Acting Edition in the market. Price 30 Cents, 
being a double Number (181 and 182) of De Witt's Act- 
ing Plays. 






.A 



DEARER THAN LIFE 



% ^rio-Cjomtr grama, 



IN THREE ACTS. 



Br HENRY J. BYEON, Esq., 

Author of " .£100,000," " William Tell, with a Vengeance," " Aladdin," etc. 



AS FIRST PERFORMED AT THE ROYAL ALEXANDRA THEATRE, LIV- 
ERPOOL, UNDER THE MANAGEMENT OF MR. E. 
ENGLISH, NOVEMBER 25, 1867. 



TO WHICH IS ADDED 



A DESCRIPTION OP THE COSTUME — CAST OF THE CHARACTERS — EN- 
TRANCES AND EXITS — RELATIVE POSITIONS OF THE PER- 
FORMERS ON THE STAGE, AND THE WHOLE 
OF THE STAGE BUSINESS. 



NEW YORK : 

ROBEHT M. OE WITT, PUBLISHER, 

NO, 33 ROSE STREET. 



DEARKR THAN LIFE. 



Tfirtvt 



CAST OF CHARACTERS. 



Alexandra Tlieatre, 
Liverpool, Nov. 25, 186 

Michael Garner Mr. J. L. Toole. 
Uncle Ben, his 

elder brother. Mr. David F16HER. 
Charley, M i - 

chael's son. . . .Mr. "Wardropper. 

Bob Gassitt Mr. Eldred. 

Old Bolter 

Mr. Kedgely... 
Mr. Chigley.... 

Mr. Mingle 

Mrs. Chigley... 

M^rs. Garner.... Mrs. Dyas. 

ijucy, her niece. Miss Ada Dyas. 

Mrs. Pellet Mrs. Proctor. 

Mrs. Mingle.... 
Misses Chigley.. 
AGueat 



Queen's Theatre, Sdwyn's Theatre, Boston, 
. London, Jan. 8, 1868. Mass., March 9, 1868. 
First time in America. 
Mr. J. L. Toole. Mr. G. H. Griffiths. 



Mr. L. Brodgh. 

Mr. C. Wyndham. 
Mr. H. Irving. 

Mr. C. LEYTON. 

Mr. John Clayton. 



Mrs. E. Dyas. 
Miss H. Hodson. 

Miss EVERARD. 

Miss Ewell. 

Misses Jordan and Lee, 



Mr. H. Piebson. 

Mr. H. S. Murdoch; 
Mr. E. ColemAn. 
Mr. H. F. Daly. 
Mr. C. Stedman. 
Mr. G. F. Kenway. 
Mr. O. H. Dinsmore. 
MraT Graham. 
Miss A. Harris. 
Miss L. Anderson. 
Miss M. Wilkin s. 
Mrs. Steele. 
Miss Forrest. 



TIME OF PLAYING-TWO HOURS. 



SYNOPSIS. 

Michael Garner, a hard-working and honest tradesman, is about to celebrate 
the twenty- seventh anniversary of his wedding. His family consists of his wife, 
his son Charles, upon whom his mother doats with a blinded affection, and Lucy, 
his niece, betrothed to the young man. Charles has been covertly leading a dis- 
sipated life at the instigation of Gassitt, who aspires to marry Lucy. Charles' 
course of conduct is known to his father, who conceals it from his wife, fearing that 
exposure of her son's practices would break the mother's heart. Chailes, losing a 
large sum of money on a race horse, makes Lucy a confidant, and ascertains from 
her that his mother has amassed a good sum of money through many years of sav- 
ing, which she intends giving the young couple on their wedding day. This infor- 
mation is scarce imparted before Garner is visited by his son's employer, who charges 
that Charles has been guilty of forgery and embezzlement. Lucy induces Mrs. 
Garner to produce her money-box, in order to shield the young man from arrest, 
when it is discovered that that, too, has been robbed. Charles migrates to a distant 
country to retrieve his reputation and means, while the family are reduced to a point 
bordering upon starvation, in wretched lodgings, from which they* are in danger of 
being evicted. Gassitt persecutes Lucy with his advances, and falsely represents 
Charles to have married abroad, while Garner, under the influence of drink, betrays 
to the mother knowledge of her son's misdeeds. The doating parent is prostyated, 
when Charles returns, a reformed and wealthy man, to claim his bride and to expose 
the iniquities of Gassitt, who has converted to his own use money remitted to his 
c ire by the absent Charles to support his father's family. Uncle Ben, an inveterate 
inebriate, smitten by remorse, avows the robbery of Mrs. Garner's money-box, and 
C.mrles emerges from suspicion, cleansed from all oriraiual taint. 

GIFT 
EST. OF J H. CORNING 

JUNE 20. 1940 



DEARER THAN LIFE. 



tfChair. 



SCENERY. 

ACTS I. and II.— Interior on three groves. 

Window | ..... : I Door, ,.•••• 

Showing wall at back. 

Sideboard, chairs r, and l. sides. 



Chair. 



Sola. 



| I I I I I Steps. 
: 9 Chair. 



Table, chairs r. and i. 



Fireplace. 

< "b;iir.:;j 



Carpet down. Closed in l. and k. A number of framed pictures on the flat and 
side-sets ; white muslin net curtains to window in F., which is cut out. ; d. in r. and 
in r. 1 e. set, practicable. Stairs ». are of four or five steps, leading up to platform 
and door; profile banisters on each side. Fire to burn in fireplace; basket ot 
flowers and books on table r. front ; cloth to same ; chairs and sola covered with a 
light flowered pattern chintz. Flowers and clock on mantel, l. 1 e. Chest ot 
drawers, or side-board, up c, has a small strong-box on top of it. 

ACT II.— The fire is burning. Very " comfortable " light interior. 



ACT III.— Interior on two grooves. Poor attic 
; Window. | 

OChair. ^Tablc. 



StCupboard. 



Chair. 



[Fireplace. 



Table, chairs n. and l- 



Closed in b. and l. Naked appearance to the room ; xnXLs stained and cracked ; 
some ot the window-panes cut out, some broken, the rest dirty ; backing to window 
view looking up a narrow street, house-tops shown ; doors r. 2 k. and l. 1 e., practi- 
cable ; fire to burn in fireplace, very feeble. 



COSTUMES {Modern, English.) 

Michael Garner.— Act I. : Made up a trifle stout and flushed of face. Light grey 
pants, white vest, blue coat with brass buttons, blue and black cravat, watch 
and chain, stand-up collar, eye-glass with black ribbon ; black hat, red silk 
handkerchief ; a letter in a wallet in his breast coat-pocket ; light hair, short 
curl. Act III. : Drab pants, light faded vest, shoes, woolen tippet, black long- 
skirted coat, all very shabby ; hat ; hair a little long, disordered ; pale face. 

Uncle Ben.— Act I. . Long-skirted coat of cheap, coarse stuff, blue overalls, black 
vest, some of the buttons oft ; neck-tie crooked, black skull-cap ; long grey 
hair, white eyebrows, discolored face, hoarse voice. Act III. : Workhouse suit 
of dark blue serge ; jacket, vest, loose trousers, shoes, cap, with peak ; hair 
whiter than before. 

Charley. —Acts I. and II. • Grey trousers, with dark brown stripe down the seam ; 
white vest, dark brown velvet cutaway coat, watch and chain ; moustache (at 
pleasure). Act III.: Suit of black, long moustache and heavy beard; hat, 
black gloves. 

Bob Gassitt. —Acts I. and II. : A sporting man. Black cutaway coat, black low- 
crowned hat, light brown pants, with black stripe down the seam ; black vest, 
fancy neck-tie, with pin ; bright metal buttons to vest and coat ; watch and 
chain, fancy silver-mounted riding-whip; moustache (at pleasure). Act III.: 
Cane, suit of black, small black whiskers, hat, buckskin gloves. 

Old Bolter.— Sea-captain's shore clothes, dark blue coat and vest with brass but- 
tons ; blue trousers, shoes , an old-fashioned hat, watch-chain, white neck-tie. 

Mr. KEDGELY.-Suit of blaci, white cravat, black gloves, sandy side-whiskers, grey 
wig, eye-glass, watch-chain. 

A Guest.— Suit of black ; white tie, gloves. 

Mrs. Garner.-^c<s I. and II. : White cap (and a second one, very handsome, for Act 
II.) ; house-dress of color to suit. Act III. : Plain dress, hair down, or plam. 

■LvcT.-Acts Land II.: White dress, with muslin over-skirt, with train ; trimmed 
with narrow red crimped work ; hair in fashion. Act III. • Hair plain, plain 
black dress, with collerette and cuffs. 

Mrs. PELLET.-Red dress, hair roughly put up ; short sleeves to dress ; face to look 
broad by arrangement of the hair, etc. ; flushed ; bullying manner. 

Mrs. Mingle.— Old-fashioned dress, with muslin head-dress. 
i Chigley.— Nice dresses, color to suit. 



PROPERTIES (See "Scenery.") 

Act I. : Whip for Gassitt ; eye-glass for Michael ; cigar and matches (to light) in 
Gassitt's cigar-case ; pipe (to break) for Ben. Act II. : Whip for Gassitt, as before ; 
a newspaper ; box of snuff for Bolter. Act III : Candle to burn ; box of matches 
up c. on table ; work-basket and dress for Lucy to sew ; long pipe on mantel ; letter 
for LurY- cane for Gassitt ; two cups and saucers, bread to be cut; knives, butter 
on plate, tea-pot, stigar-bowl, cupboard r. u. e. corner ; bottle for Ben to bring on. 

[ For Explanation of Stage Directions, see page 34.1 



DEARER THAN LIFE. 



ACT I. 

SCENE. — Boom in Garner's house, discovering Mrs. Garner seated r. c, 
front, by table. Lucy up c. a little. 

Mrs. G. My dear Lucy, why have you not dressed yourself yet 1 You 
are not going to receive the company like that 1 

Lucy. Not I. But I must make the place look tidy a bit — it shall be 
quite grand ! {down front, c.) 

Mrs. G. Not too grand for you and Charley. You know that Michael 
and I are saving up a good round sum for Charley. 

Lucy. Yes, Aunty, {seated on foot-stool at Mrs. Garner's feet.)* 

Mrs. G. What a pity that you cannot be dearer to me as my daughter, 
than as my niece. I don't let you want to see that — oh, I wish Charley 
would only show his affection half as well. 

Lucy. The fact is, Charley is not very demonstrative. 

Mrs. G. That's just what I meant to say, my dear. You are good, and 
I love you, but Charley's very dear to me. 

Lucy. Oh, Aunty, there's not a doubt of that. 

Mrs. G. {kisses her). Bless you for saying so ! There is not a doubt 
of it. 

Lucy. And I am sure he loves you in return, and father, and his home. 
But he is certainly a little wild. 

Mrs. G. A — little — wild, but not wicked. 

Lucy. Oh, no, not wicked — else we should not love him so dearly. 

Mrs. G. That's what it is, child. But then Charley is so youno- it 

would not do to be too decided with him. Look at my cousin Ned'wil- 
loughby, as fine a young man as was ever seen in our village, but his old 
folks were so harsh upon him that, in reining him up quick, he broke from 
all restraint whatever, and went to the bad. Oh, if Charley were to take 
that course, it would break my heart — I should die ! I should die ! 

Lucy {consolingly). Oh, Aunty, there is no fear of that. 

Mrs. G. It is not to be thought of his becoming like Uncle Ben ; any- 
thing but that for my boy. But he ought to be here— he promised to 
come home early on the twenty-seventh anniversary of Michael's mar- 
riage. 

Lucy. They may have kept him a little late at the office. 

Mrs. G. Or he may be with his friend, Mr. Gassitt. 

Lucy. Aunty, there's something about that young man that I do not 
like. I wish Charley would not have anything to do with him. 



6 DEARER THAN LIFE. 

Mrs. G. No, child, I like him very well. He is such a good friend of 
my boy. (rises.) 

Lucy (aside). I am not so sure of that ! (rises.) 

Mrs. G. I must go up stairs and put on my new cap, that Charley was 
so thoughtful as to buy for me. A beautiful cap — almost too beautiful to 
wear! (to stairs r.) I'll be down directly — I'll be down directly, (exit b. 
by stairs.) 

Lucy (a, aside) Dear Aunty, how she doats on her child ! May no 
shadow ever darken this happy home, (c, music.) 

Miter, d. in f., Bob Gassitt. 

Gassitt (aside). There she is. (comes down l. c.) There's a girl to wear 
round your heart ! there's a girl to take in your arms ! (aloud, hat off) 
Here's Miss Lucy ! I hope I am not in the way 1 

Lucy (sta>is). Mr. Gassitt here 7 (quickly) Charley is not in at present. 

Gassitt. I don't mind stopping here for him. Charley don't appre- 
ciate his home's attractions like some others would, (sings in a low 
tone) Fol lol lol ! 

Lucy (aside). How annoying ! I do detest this fellow. 

Gassitt. Not that I wish he was altered in that respect. 

Lucy. If there is any thing you want me to convey to him 

Gassitt. Now if you were a young lady (Lucy starts) I should ask you 
to convey something (sings as before, fol lol lol, etc.) You twig 1 

Lucy. I do not understand your elegant phraseology. 

Gassitt. Elegant phraseology ! Here's good language, more fit for a 
gilded saloon than a back parlor ! I meant, don't you understand 1 My 
language may not be tip-top, but I always speak my mind. 

Lucy. Speak your mind 1 Then that's why you generally speak such 
rubbish ! (turns away.) 

Gassitt. Miss Lucy, don't go. I want a word with you. 

Lucy. We are very busy to-day, sir, and 

Gassitt. I know ! But I can't bear that you should be left in ignor- 
ance here. The fact is, you're superior to this sort of life ! You were 
not "born to blush unseen and waste your sweetness on the " Old Kent 
Road! (c.) 

Lucy. It's very kind of you to say so ! (aside) Really, he is the most 
disagreeable young man I ever knew ! (r. c.) 

Gassitt (aside). I am evidently making an impression here ! (aloud) 
Your friends are a good sort — Mr. and Mrs. Garner — and Charley, the old 
boy himself, is rather warm, eh ] 

Lucy (aside). I know I am getting so ! 

Gassitt. All very well in their way, but not what I call first-class ! 
Why, even Charley is ashamed of them at times ! 

Lucy. Is he 1 

Gassitt. Yes ! 

Lucy (fiercely). Well, then, Charley has no cause to be ashamed of his 
parents, whatever he has of his friends. 

Gassitt. You're a vitty vun, you are! Ha, ha! (pause) Do you ever 
go to the theatre 1 

Lucy (shortly). Why do you ask 1 

Gassitt. Why, I have got a friend who is a professional. He some- 
times gives me an order. What would you say if I was to call round 
friendly-like and offer to take you ! I'd square Charley. He prefers a 
game at billiards to spending the evening in an intellectual manner ! 

Lucy. Allow me, in the first place, to thank you for the generous way 
in which you have offered to " square " Charley. 



ACT I. 7 

Gassitt. Not at all ! 

Lucy. But let me add, that when I am taken to the play, I like to be 
paid for ! (her tone growing more and more sarcastic') It* it is all the same to 
you, I prefer " an intellectual evening " at home ! I dare say there are some 
young ladies who would take your invitation as an honor. When I call it 
an impertinence, attribute it to my want of taste ! 

[Bow and exit R. by stairs. 

Gassitt. Ah ! you stuck-up piece of fol-lal impudence ! Who do you 
think you are, I should like to know 1 You suppose some young ladies 
would take my proposal as an honor 1 I should think they w< uld ! Why, 
you couldn't be grander if you owned a whole row of freehold cottages ! 
There's nothing like landed property for fostering pride ! That for your, 
grand airs, (snaps Jiggers, goes up L. c). 

Hitter r. by stairs, Charley. 

Charley. Ah! are you there, Bob 1 (puts his hat on side-board up c.) 

Gassitt (l. c, up). Yes. (shortly.) 

Charley. Talking to yourself? 

Gassitt. Don*t you mind who ! 

Charley. Well, I don't ! 

Gassitt. Very well, then ! I can see you are in one of your nice 
kneck-me-down tempers to-day, Master Charley ! 

Charley. What if I am, Master Bob ? 

Gassitt. Nothing ; all the better! You couldn't be worse if you heard 
that Sunbeam is scratched ! 

Charley. You don't mean he 1 

Gassitt (carelessly). The rumors are beginning to fly around. I shall 
hedge. 

Charley. They dare not have sold it ! 

Gassitt. All right, if you say they daren't ! You are so uncommon 
sharp, you are. Accidents happen with the best-regulated horses, and I 
not being a leg used to being broken, like to stand on the safe side. 

Charley. If you have only come to talk nonsense, why 

Gassitt. Say it ! Tell me to get out ! 

Charley. No ; I don't mean that. I've been troubled to-day. I'm all 
out of sorts. But what's put you out 1 

Gassitt. Well, the fact is, your fine-lady cousin, Miss Lucy, has be- 
haved .uncommon rude to me. 

Charley. It's the other way about, I guess. 

Gassitt. There's some satisfaction when a man is impudent to you, 
'cause you can punch his head. 

Charley. Well, suppose I'm the man, if you want to punch heads, and 
punch mine, if you can ! 

Gassitt. Hullo ! Master Charley, are you coming the bounce, too 1 

Charley. If I knew what it was you had been saying to her, I'd make 
you beg her pardon ! 

Gassitt. Make me beg — bah ! I never begged any one's pardon in my 
life ! Get out ! 

Charley. Then, I'll make you beg now! (seizes Gassitt by the throat.) 

Enter d. in l., Michael Garner. 

Garner. Hullo ! hullo ! hul — lo ! boys, boys, boys ! (Gassitt and 
Charley separate, and Gassitt goes to l. a little, Charley to r. c, Mi- 
chael down c.) Has Bedlam broke loose, or has the Thames set itself afire I 



8 DEABEK THAN LIFE. 

Come, come, you're not in earnest with your going into gymnastics 1 
You're not in sober earnest 1 

Gassitt {sullenly). No, we were only in play, weren't we, Charley 1 

Charley {sullenly). Only in play, that's all ! 

Garner. Only in play 1 That's what the man said what kept the 
menagerie, what had the two rale Bengal tigers, that set to chawing one 
another on the floor of their cage. ' It's only their play!'' he said, says 
he. It might have been hony their play, but as neither on 'em ever got 
up agin', it looked like earnest to the houtside public ! Now, boys, what 
does the poetry say about it 1 " Let dogs delight," he says, " to bark 
and bite," he says ; " but little children's hands," he says, " were never 
made," he says, " to punch each other's eyes," he says. 

Gassitt (l. by mantelpiece, contemptuously). Yes, I learnt all that when I 
was a young 'un. 

Garner {eyeglass up, looking at Gassitt). When you was a young 'un! 
And an uncommon fine young 'un you must have been ! A remarkably 
fine babby ! 

Gassitt. Why so ? 

Garner. Why, don't you know that it's a regular thing that the men 
and women that was uncommon lovely in their babbyhood grow up into 
ugly ones, and wisey-wersy. Now it strikes me in that light, that you 
must have been a beauty when you were little ! 

Gassitt. Oh, if you are inclined to have a joke at my expense, I'll 
go 

Garner {changing his tone). Oh, now ! there's no one to take anything 
at any one's expense except mine, this day ! This day is the anniversary 
of that when I married that young rascal's mother {indicates Charley, r. 
of him) twenty-seven years ago ! I want everybody to be pleasant and 
sociable this day. 

Gassitt {gives Garner his hand). I wish you many of them, old gen- 
tleman ! 

Garner. Now, that's what I call hearty ; ain't it Charley 1 But I say, 
you were really not in earnest that little while ago when I caught you at 
one another's throttles ? 

Charley. How could you think it, father? 

Garner. Humph ! There's one thing I should like. I should like to 
see you shake hands. If there's one thing in the world that's pleasant 
and agreeable, it's to see friends shaking hands, {brings hands of Gassitt 
and Charley together.) There ! doesn't that feel comfortable 7 You must 
promise us, as Charley's friend, that you will give us a look in? 

Gassitt. Unless I have to attend to business. 

Garner. Business ! Pshaw ! I wont hear of the word on this day. 
Business ! on the twenty-seventh anniversary of an intimate friend's 
father — no, of a father's intimate friends — no? of a son's father's— 
Charley, help me out, won't you 1 

Charley. I suppose you mean that you would like him to stop? 

Garner. That's the right thing. Not that we're very partial to you, 
but -Hem ! 

Garner {to Gassitt). You will come ? I can see by the look of your 
face that you can sing a good comic song, and there's a conumdrum and 
a riddle in the corner of your eye ! 

Charley. You'll excuse me, father, but I don't think that Mr. Gassitt's 
riddles or songs would suit our company ! 

Gassitt {carelessly). Oh, dear, no ! If you want any harmony, just ask 
Charley to contribute some of the verses with which he gratifies the 
choice spirits of the Convivial Coveys' Club every Friday evening ! {goes 



act i. y 

Garner. Friday evening ! Why, Charley, I thought you attended Mon- 
sieur Montalembert's French class every Friday night 1 (to Gassitt) 
Then you will look in 1 

Gassitt. Perhaps I shall, (lounges up to d. in f.). 

Garner {goes up io v>. in f.). Put it plainer. 

Gassitt. Very likely, then ! (Exit d. in f.) 

Garner [at r>. in f.). Don't put yourself out about it ! (comes down c.) 
Where did you pick that fellow up, Charley 1 I don't like him. 

Charley. Oh, he's a little rough, father, but not a bad sort. 

Garner. I don't like your rough diamonds! What's the good of going 
through the world with a surly phiz to everybody 1 Whenever I come 
across one of these sullen parties, I says to myself: " My hearty, you 
may have a very sweet kernel, when one gets at It, but life is too short for 
Michael Garner to waste his time in cracking you!' 1 I like to see cheer- 
ful looks and to hear pleasant words ! more than all on to-day. 

Charley. 1 suppose that's a dig at me, because I don't go snickering 
about like a great girl ! (r.) Oh, thank you for the hint. 

Garner. A hint! I never meant to give you a hint! Why, Charley, 
you know nothing could be further from me than any idea of giving you 
a hint ! 

Charley. It is rather hard to find an enemy m one's own lather ! (sul- 
lenly.) 

Garner. An enemy — Char — (checJcs himself, solemnly) The only enemy 
you have is your o^ nself ! You make me tell you — I did not want to say 
anything about it on a day like this — but here is a letter I received about 
you. 

Charley. A letter — about me — father 1 (agitated.) 

Garner. Hullo ! What are you going into hysterics about 1 It ain't a 
warrant for murder or forgery 1 

Charley (aside). Forgery ! 

Garner. If I had known it was going to have such an effect upon you, 
I would not have produced it at all. 

Charley (me hand on table, r. c, convulsively). Let me know the worst ! 
Would you torture me 1 

Garner. Torture you 1 Torture you, Charley 1 What's all this high- 
flown talk for, when it's Mullins sent in his bilH He says if you don't 
pay for the tailoring he will go to the extremity of the law. 

Charley (laughs, relieved, but forcedly). Ha, ha, ha! the tailor ! Is that 

ain 

Garner. Well, it may be a devilish good joke, but I can't see it ! 

Charley. All this serious preamble about a tuppenny ha'penny tail- 
or's bill ! Ha, ha ! 

Garner. A tupenny ha'penny! It's a bill that any swell in the land 
might be proud on ! Forty-seven pounds odd- — r 

Charley. Pooh! Mullins had no business to send you the bill — he 
shan't have any more of my custom ! 

Garner. Oh, thafs right, then ! That will happen which has happened 
so many times before; I will have to pay the bill ! I know it, and I wont 
refuse ; but when is this to stop, Charley 7 Fine clothes is not for the 
likes of you, and fast living should be left to, not our, but the betters ! See 
here, you've got so good a young woman awaiting for. you when you de- 
termine to settle down and begin life in earnest. You have a mother 
whose only fault is that she loves you too well. I love you. too, but a 
mother's love is a precious thing — a religion in itself ! When our two 
little ones were lost, and we had only you, we did not regret them so 
much, while 4 you grew up lusty and, strong. Charley, my son, on this 
twenty-seventh anniversary of the happiest day in all my life, make it 



10 DEARER THAN LIFE. 

brighter by promising to turn over a new leaf! 1 have kept ever so many 
reports of your ill conduct from your mother, who doats on you ! I have 
told her many a falsehood for your sake ; do let me now have the truth 
to tell of you ! I implore you, 1 beg of you to change your life I Pro- 
mise me ! You can't want to break her heart and mine — hers, because 
you are to her dearer than life ! 

Charley. Well, I don't know what I have done to deserve all this. 

Garner {with vehemence). Done! You don't know what you have done! 
You've broken my heart — that's what you have done ! You've sullied 
the good name and fame I built up with a hard-working life ! that's what 
you have done ! You have made me live one long lie — telling your mother 
what you were not, while it choked me! That's what you have done ! 
Oh, sir, I am speaking plain English ! You've shown to me that yon go 
to idleness — perhaps to crime 1 

Charley. Crime ! 

Garner. That's what you've done ! 

Charley. These are harsh and bitter words, father ! 

Garner. Truth is harsh and bitter ! You've filled the cup to over- 
flowing — drink of it as it comes. 

Charley. I work ! I go to business like other young men 

Garner. You go to business 1 Why if a shopboy of mine had behaved 
to me as you have to Crisp & Kedgeley, I'd — I'd have taken him by the 
scruff of the neck and flung him out of doors — aye, long ago ! It is only 
out of respect for me that they have kept you up to now. 

Charley. I did think that we might pass over one happy day for once 
in a while — this was the last one I thought you would choose to pitch 
into me. 

Garner. Perhaps I have been rather violent, but, there ! I'll try to 
think the best of you ! don't let your mother know what has happened — 
it would spoil the day for her. Hush ! she is coming. Laugh — look 
cheerful. I won't speak a word of it to her ! 

Enter, r. by stairs, Mrs. Garner. 

Mrs. Garner. Ah ! here is the truant, (embraces Charley) My dear 
boy, I knew you could not keep away from us on such a day as this ! 

Charley. Don't rumple my collar, please ! I shall go out and have a 
smoke before the company comes. 

Mrs. Garner. Not to fume the rooms 1 Oh, there's consideration for 
you! (r. c.) 

Garner, (l.). Charley, smoking is a very bad habit. 

Mrs. Garner (fondly). Oh, let him, if he wants to ! 

Charley (taking his hat up c, and lighting cigar). Oh, its a mild thing, 
only a cigarette ! 

Garner. A sickrette ! What do they call it that for 1 because it 
makes you ill 1 

Charley. I'll be back soon. [Exit, carelessly, d. in f. 

Mrs. Garner. Ah, Michael ! he wasn't born for our line of life ! 

Garner. I don't think he was, my dear ! 

Mrs. Garner. How very kind of him not to smoke his cigar in the 
room ! 

Garner. Hem ! he lighted it before he went out. 

Mrs. Garner. We must humor him a little. You know, Michael, how 
we lost our two little ones. 

Garner. Yes, my dear ! (a) 

Mrs. G. And Charley's so delicate ! 

Garner, Just as you please, my dear. Now, then, to be agreeable 



ACT I. 



11 



again ! What do you say to somebody's investing his money in a present, 
all through remembering that this was the twenty-seventh anniversary of 
the marriage of a certain lady who shall be nameless for the present oc- 
casion ] (gives jewel case.) 

Mrs. G. Oh! ain't they beautiful ! 

Garner. I say, ain't it of a size, though 1 You have got your money's 
worth. 

Mrs. G. Magnificent! 

Garner. They're extra pressure, double-distilled diamonds, if you like ! 

Mrs. G. And I do like ! 

Garner. Now, who do you suppose found that for you 1 

Mrs. G. Why 

Garner (eagerly). Yes, yes. 

Mrs. G. Charley, of course ! 

Garner. Eh 1 Oh, of course, of course ! (gayly.) Wasn't it thoughtful 
of the young dog 1 

Mrs. G. Dear Charley, he is ever so thoughtful ! 

Garner. We were going along when we saw this splendid article in a 
jeweler's shop — a regular blaze in the window — endangering the insur- 
ance ! Thinks I to myself, " Here's the old woman without any jewelry 
at home, when, why need she be 1 " so in I goes 

Mrs. G. In Charley goes, you mean ! 

Garner. Eh 1 oh, aye, in Charley goes, of course. He outs with his 
money, slaps it down, and the brooch was mine — Charley's I mean ! So, 
here's strength to bear it, health to wear it, and wealth to get another 
one when it's gone ! I'll go in to rig up, mother 

Mrs. G. (aside, musing). My boy 1 ever good and kind and thoughtful — 
ah ! (by table, r. c. front.) 

Garner (aside). She's not listening to a word I say ! She is thinking 
of the dead little ones, and of our living hope, Charley, Charley ! always 
Charley! (at foot of stairs, r.) She's in the clouds. My darling wife, may 
nothing ever shatter your idol — it would break your heart ! No doubt of 
it, no doubt ! [Exit r. by stairs. 

Enter, d. in f., Uncle Ben, coming down c, in a drunken state. 

Mrs. Garner (starts). Oh, you here, Ben 1 Look here, wasn't it 
thoughtful of Charley to save up his money to buy me this beautiful pres- 
ent ] (gives Ben the jewel-case.) 

Ben (maudlin). So he's been wasting money on you, has hel Ah ! you 
are all rolling in the lap of luxury, but you never think of making a pres- 
ent to your poor old nunkey. Nobody gives me a brooch. Nobody 
gives me anything. I wouldn't have nothing — except it was for what I 
took. 

Mrs. G. I am ashamed of you, Ben you know what to-day is, and that 
Michael particularly begged of you to keep sober and pleasant. 

Ben. So I am sober (hie) and pleasa it. (smiles) Is this real gold ? 
(brooch m hand, Mrs. Garner nods) Boo'ful, boo'ful ! What's it's use 1 

Mrs. G. Use ! why, it's an ornament, Ben. 

Ben. Ah, nobody ever gives me an ornament. 

Mrs. G. I should think not, indeed. Whv. Ben, you had a beaitifu] 
watch once^as large as a saucer, and what did you do with it 1 

Jsen. Give it away. 

Mrs. G. Sold it for drink. 

Ben Give me a try with this. I'll keep this ' 

Mrs. G. Indeed you'll not; give it back to me ! 



12 DEARER. THAN LIFE. 

Ben {shifting brooch to left hand, farthest from Mrs. Garner\ No ! it's 
time you gave me something. 

Mrs. G. Oh. very well, steal it then ! It won't be the first time ! 

Ben. What do you mean 1 

Mrs. G. You'll drive me to mention the many little things I have 
missed, just after you have paid us a visit. 

Ben. Just for that, you shan't have it now. 

Mrs. G. Give me that back directly, sir! (seizes Ben's wrists, struggle.) 

Ben. You would, would you, you vixen ! Ah ! 

Enter Charley, d. in f., pushes Ben, who falls l. by fireplace, one arm on chair, 
and takes Mrs. Garner in his arms. 

Charley. What does this mean, mother 1 

Mrs. G. Oh, nothing of any consequence, (picks up brooch and case, 
which have fallen.) 

Ben (still down). Strike roe ! strike me ! pitch into my grey hairs ! 
What's age, ungrateful young man, what's age, what's venerableness, 
what's decrepitation to you 7 

Mrs. G. He's had too much again. Don't mind him, Charley. 

Charley. He's not had half enough. Look here, Mr. Ben Garner, 
when you can keep yourself moderately sober, we can tolerate your com- 
pany. You are not in that condition now, so you had better go ! 

Ben (rises). So you turn me out — turn me out like a cur 1 

Charley (sneering). Yes, very like a cur. 

Ben (working himself up into a passion till his final outburst at close of Act). 
Very good ! you dare to talk like that to your elder ! you, a loafer, a 
scoundrel, a low, mean-spirited loafer ! oh, let him come on and strike 
me again. You think him all that is good ! the pink of perfection ! ha, 
ha ! Cling to your belief, cling to your idol, though he turns guiltily 
away. You've struck me, and all the drink in the world won't wash that 
out. If you stood in the dock and a word of mine could save you, I'd 
tear my tongue out rather than speak it. (Charley, r. c, confounded, Mrs. 
Garner paralyzed with terror, c.) Love him still, now, if you can love him, 
trust in him ! but I'll never forgive him — I'll never forgive him ! I'll never 
forgive him. (stands trembling out of breath, up l. c.) 

Michael and Lucy enter r. by stairs. Michael throws Ben up l. c. and 
takes in his arms Mrs. Garner, who faints with a scream. All form 
picture. 



jUCY.* 

Mrs. G* 


♦Ben. 
* Garner. 


* 
Charley. 


» » 



B. C C. L. C. 



ACT II. IS 



ACT II. 



SCENE. — Same as Act I., discovering Lucy seateu, at table r. c.frotib, C'di 7 :*- 
ley L., by fireplace. 

Charley. We are the envy of our neighbors for our nice, quiet, happy 
home ! They ought to have heard Uncle Ben. 

Lucy {gently). There is a skeleton in every family, Charley. 

Charley. The skeleton needn't be always druuk! 

Lucy. Oh, Charley ! 

Charley. To come in and drive mother out of her wits with his drunk- 
en ravings. He's almost upset me for the day. 

Lucy. There's something else troubles you, Charley, (to Charley, l.) 

Charley. You're a good girl, Lucy ; too good for me ! Don't annoy 
me, though. 

Lucy. What have you on your mind 1 I wish you would confide in 
me, Charley. 

Charley. There are some things, Lucy, which are not to be confided 
in another. Don't ask me more. 

Lucy. I will not if you do not wish it ; but (hesitatingly) is it money, 
Charley — a — a debt 1 

Charley. Yes, yes, a debt — a heavier one than I can pay ! (half aside.) 

Lucy. I will leave you alone since you wish it, Charley, (reluctantly 
going to foot of stairs, r., aside) I half guessed his trouble. I'll surprise 
the whole secret next. I am going ! [Exit r., by stairs. 

Charley (by table, r. c, front). I wear my disaster on my face. She 
reads it — she's so guileless and unsuspecting. Her sympathy tortures 
me. Oh, if I win this time, I'll give it all the go-by forever ! If I lose — 
oh, that's not to be thought of ! (falls into chair, arms on table, sullenly 
thinking.) 

Enter, d. in f., Gassitt. 

Gassitt (coming down to Charley, aside). There he is in a pleasant fit ! 
He can't have heard the news ! 

Charley. I thought you were not going to come back. 

Gassitt. " The wish was parent, Charley, to the thought !" Hem ! Shak- 
speare ! I wouldn't have come though, only I thought you had better 
hear the news. 

Charley. Something bad, by your manner. 

Gassitt. Bad to some. Sunbeam is scratched ! 
• Charley. Then I am lost — lost — lost ! (falls into chair.) 

Gassitt. So am I ! We're both in the same boat. We had best take 
care we shan't be found. 

Charley (rises). It's a swindle — a made-up affair ! I'll never bet on a 
horse again ! Fool that I am, it's just my luck ! (crosses to l., excitedly.) 

Gassitt. I wouldn't have fared any better if I had not hedged. 

Charley. It's the devil's money ; no good ever came of it. (l., by 
mantel.) 

Gassitt. (c). Oh, if you've come to preaching and ride the high 
moral horse, I suppose you'll repudiate your little obligation to me ! 

Charley. No ! I owe it you. and I'll pay you. Only give me time. 

Gassitt. Ah ! time, eh 1 Time is money — you've had that of me — I 
can't give you both. I must go away. I have lost heavy sums. Some- 
how or other, all my knowing calculations have gone wrong. You have 
not done much of late to make me show vou consideration, (up c, lights 



14 DEARER THAN LIFE. 

cigar with match carelessly.) You have often bled your father for yourself; 
now do as much again for your friend. 

Charley. My friend 1 

Gassitt. Yes, your friend, one that will stick to you, to«, to the end ! 

Charley (gently). Come, Bob, I have been worried more than you can 
think for lately. Let up a little on me. 

Gassitt. Don't mind my ways — you ought to know me by this time. 
(they shake hands. ) 

Charley. I ought to know you — (aside) but I don't. 

Gassitt. Your father will be coming in directly. He'll do anything 
for you on such a day as this. Pitch into him while he is jolly ; I'll look 
in again, (at d. in p.) Ta, ta ! ta, ta ! [Exit d. in f., lounging. . 

Charley (c.) My last hope knocked from under me. I believe this 
fellow's my evil genius ! If it were not for him, I — oh, what a fool I have 
been, (seated r. c, by table) What a fool ! 

Enter Lucy by stairs, r. 

Lucy. Charley ! (to Cuarley) There is something wrong. I wish you 
would trust me. A sorrow is only half a sorrow when it is shared with a 
friend. What is the matter 1 

Charley. Don't ask me 1 

Lucy. But I do ask you! You are distressed on the very day when 
Uncle wants us all to be most happy. Tell me all. 

Charley. I dare not! 

Lucy. I will be silent. Perhaps I can find you a way out of it. 

Charley. Not you ! 

Lucy. Is — is the — the amount of the debt very large 1 

Charley. Overwhelming ! 

Lucy. Charley — you don't know that Aunty has been putting by a 
sum of money for me — for you and me — it is the savings for years — and 
such a large sum now ! She would only be glad to save you pain, if 
she knew it, but she need not hear the truth. Suppose I was to get it 
for you. 

Charley. I may break my mother's heart — but I will not take the 
savings she has been putting together for you ! 

Lucv. For you — and me, Charley. 

Charley. No ! that would only be adding to it another crime. 

Lucy. Crime ! I won't allow you to use such words, sir ! 

Charley. Then again for the money to be of any use I must have it 
to-day. 

Lucy. To-day! Oh, you are in a hurry, Master Charley. ( playfully) 
I must tell Aunty, first, (r. by foot of stairs) and get the money from her. 
I'll say you are going to invest it in some company — that will magnifv 
it immensely. 

Charley (embraces her). You are a good girl, Lucy — far too good for 
me. I wish that I had known — (kisses her.) 

Enter, v. in f., Garner. 

Garner. Ah, ha, ha, ha ! I see you. Go on with it— I'll turn my head 
the other way. (comes down c.) If you do have any of it left, Miss Lucy, 
lett me be custom -r number two. (Lucy kisses him) Ah ! there's an appe- 
tizer! talk of your sherry and bitters, and rour tonic in vigorators! oh! it 
quite takes one's breath away ! (pit's his hat on sideboard, up c.) 

Lucy (to b. to Charley). I'll be back soon, with it! 

\Exit r. by stairs. 



ACT II. 15 

Garner. Ah ! there's a girl you'd have to look far and near for the 
match to, without running against very sudden. There's not a girl in the 
neighborhood fit to hold a candle to her. She s one of those girls- — (l. c.) 

Charley (r., impatiently). She is-— she is 

Garner. I say, she is one of those girls—— 

Charley. Exactly so ! she's 

Garner. Well, perhaps, on the twenty-seventh anniversary, an event 
which was mainly the means of introducing you to the public, you will 
permit your father to finish his observation. You are all the time cor- 
recting me in my manners — but I don't think your gentility has much to 
brag on ! It puts me in mind of the modern young lady's complexion— 
it's more put on than natural. 

Charley. Do look over it ! You know how I have caught it from all 
quarters to-day. 

Garner. Then it's all blown over. Why, your mother has forgotten 
that dreadful scene of old Ben's ravings, and believes it was only his 
drunken talk. 

Charley. Uncle Ben ! I wonder you permit him to come here — the 
broken-down old reprobate. 

Garner Let me tell you that Uncle Ben was once as fine a young fellow 
as ever stepped ; but he was dragged down to what you seen him now, 
all along of bad company. 

Charley. I wish, then, he'd stick to his company and leave us alone. 

Garner. But time's getting on. We must titivate ourselves a little for 
the company, (looks at ivatcJi) Bolter ought to be here. He generally is 
oncommon punctual. 

Charley. Is Bolter coming'? 

Garner. I should rather think he was a-coming ! 

Charley. The rough sea captain with the boisterous voice — beginning 
speeches he never finishes and songs that never have an end. 

Garner. Well, you amuse me, Charley. Why, Bolter is generally 
invited out on account of his voice. 

Charley. 1 wish somebody had invited him out to-day ! 

Garner. There's Mrs. Mingle — you haven't anything to say of her ? . 

Charley. No more than she has of herself! She sll i a'.i <>r an evening 
with only one speech to each cup of tea. 

Garner. Let me tell you I knew Mrs. Mingle when she was a remark- 
ably fine young woman. 

Charley. What a pity she did not continue so. 

Garner. Well, you do amuse me ! 

Charley. Anybody else coming 1 

Garner. To be sure, there's the Miss Chigleys 

Charley. Oh! the Misses Chigley, a pair of little milk-and-water chits 
who have just life enough to make matters worse by trying to ape good 
breeding. 

Garner. Well, you really do amuse me, Charley ! You couldn't carry 
it on better if you were the emperor of all the Russias or the man what. 
wrote the Etiquette book. I don't mind it, but, as the little boy said ; 
whose mother kep' a lodging-house, when the first floor, as was a posture 
maker, took to balancing the table on the tip of his nose — the wonder is. 
" How you keep it up 1" 

Enter, d. in f., Bolter ; in a rough, hearty way comes to take Garner's hand, 

Bolter. Here he is, and he's brought himself all along with him. 

Garner. T hope I see you well. 

JBoL^rR. The same to you. an 1 many on 'em! 



16 DEARER THAN LIFE. 

Garner. Thank you, old boy ! I know you mean it! 

Bolter. How many does it make of 'em now 1 

Garner. Twenty-seven! 

Bolter. No ! 

Garner. Fact! 

Bolter. Young man, (to Charley) when you come to being married 
twenty-seven times 

Garner {laughing). Married twenty-seven times ! ho, ho ! 

Bolter. Yes, married twenty-seven years 

Charley (r.). Well, when I am 

Bolter. What 1 Eh ! Oh, he's fairly frightened the rest of it out of 
me. Hang me if I know what I was going to say ! (takes snuff.} 

Garner (to Charley). Don't catch him up so, don't catch him up ! 

Enter, r., by stairs, Mrs. Garner and Lucy. Enter, d. in v., Mrs. Mingle, 
the Chigleys, and the Guest, who are received by Lucy. Mrs. Min- 
gle takes seat l., by fire .* 

Mrs. Garner (to Bolter). Why, Harry Bolter, how are you 1 (shakes 
hands.) 

Botler. Is this you, on the twenty-seventh anniversary. Why, I 
wouldn't have known you! You're getting younger and younger every 
day ! You're improving, mum ! actually improving, mum ! In a manner 
of speaking (catches Charley's eye, which confuses him) In a — a — manner 
of — of — speaking 

Charley (half aside). In a manner of breaking down, I should say ! 

Garner. Ha, ha ! he's a sort of a wit, Charley is ! (to Charley, cross- 
ing r.) Don't catch him up so ! He's on old friend, and I won't have 
him catched up ! 

Bolter. On the occasion, mum, I've brought you a little present. • 
(gives box.) 

Mrs. Garner. How sweet ! Oh, Harry Bolter, you were always an 
extravagant young fellow, (crosses l., to slioiv box to Mrs. Mingle and 
Lucy.) 

Bolter. It's not much, mum, but the value of a present is made more 
by the spirit that prompts the making it. 

Garner. A very pretty sentiment! With your beautiful flow of lan- ( 
guage, Bolter, my boy, you ought to have married long ago ! 

Bolter. Ah, Michael, the only woman I ever cared for you know all 
about. 

Garner (chuckling). Yes, I cut you out, you old hunks ! Do you re- 
member the fight we had behind the cowshed when I gave you the black \ 
eye, and you told the clergyman that you got it by running your face 
against the handle of the pump ! (he and Bolter laugh together.) Do you 
know I can't help think we were happier together, when poor boys, in 
the purer, better air of the country, than ever after when we had come 
up to the great noisy city to make our fortunes 1 

Bolter (shakes hands with Garner). Not a doubt on it, Michael, not a 
doubt ! 

Charley (merrily). I should think men of experience like you were 
above the common error, long ago exploded, of rustic simplicity ! 

Garner (aside to Charley). Don't catch him up ! 



Guest— Chigleys [at back.) 
Lucy. 
Charley. Mrs. Gaxner. Bolter. Garner. Mrs. Mingle, 

r. c. c. l, c. l. . -■/'■ 



ACT II. 17 

Charley. Ain't innocence in our sisters here as it was in our mothers 
down there 1 Don't a country dog hold on when he's gripped like a 
town-bred one 1 Of course he does ! Ain't one just as good as the other 1 
(half aside) I'm ashamed of you ! 

Garner (to Charley). I tell you I won't have him catched up ! (to 
Bolter, soothingly) This is the way sons talk to their fathers in this nine- 
teenth century! 

Eolter. Yes, they do, if we permit them, (aside, looking at Charley) 
That's for you, young man ! (takes snuff.) 

Garner (takes snuff). Is this some of the same rare old ? 

Bolter. The same old, Michael! It'll last our time! (offers box to 
Charley politely.) 

Charley (takes snuff with distaste). Why do you persist in offering peo- 
ple such abominable stuff"? 

Enter, D. in f., Gassitt, lounging down l. c. 

Bolter. Abomi (checks himself) I should think, my young sir, you 

could be more civil to an old friend. 

Charley (contemptuously). An old friend — of my father ! 

Bolter. Yes, your father's old friend! For you to be ashamed of 
them, your friends must be a decidedly superior lot. (turns and finds Gas- 
sitt at his left side) This, I should say, was one of them. (2Jause.) 

Gassitt. Well, old gentleman, I hope you will know me next time "? 

Bolter (emphatically). Next time 1 I beg your pardon, I don't know you 
now ! (goes up c. to converse tvith others ) 

Gassitt (asiele). Well, this is about the nicest house I ever went into. 
I never come without being insulted. 

Charley (to Gassitt). I see, you couldn't stay away. 

Gassitt (insolently). On second thoughts, I thought I'd keep an eye on 
you. (up c, and lounges up to r. with Charley ; they converse, note-book in 
play, etc.) 

Garner (comes down c, jovially). What's the next move on the board 1 

Lucy. I move that we adjourn to the dining room. 

Garner. Yes, there's lemonade and sherry and what you like for a 
sharpener before the meal ; but don't spoil your appetites. Sally and Lucy 
have been out-doing themselves for the spread to-day. 

Bolter. Oh ! I've brought my appetite. 1 think it but a poor compli- 
ment to go out to a dinner without one. 

Mrs. Mingle (waking up). I say so, too ! 

Garner. Well for you, ma'am ! (to Bolter) And then we'll have all 
the old songs — Poor Tom Bowling, the Death of Nelson 

Bolter. I've got them all — I'm in capital voice, and I've made a new 
verse to the Honest Man. 

Garner. A new vers'e to the — (eagerly to Mrs. Garner) Do you hear 
that, Sally ! Bolter's gone and made a new verse to the Honest Man ! 
Why, it wouldn't seem like the twenty-seventh anniversary at all, unless 
we had the HonestJVIan ! How does it go 1 (laughable attempt to get at a 
tune by " la-la-la-ing " at it) La, la, la, etc. 

Bolter. No, that's not it. (begins to hum ttme ) 

Garner. Oh ! give us a verse of it — plenty of time before dinner is 
ready. A sort of rehearsal. 

All. Oh, do, Mr. Bolter. (Bolter sings* with feeling) 



Charley. Gassitt. Guest. Miss Chtgley. 

L.TJCY. Mrs. G. Bolter. Garner. Mrs. M. 

B - *• o. c. l. c. L. 



18 



liEAKJJK TI1A-V LIFE, 



THE HONEST MAN. 



Allegro modcrato. ^ ^^^ I ■ 

^Al t-l\ 0±0 j - J-L_( 1 -W { — «_1 # -^ , S_L # ^ — [-IX. 



i^S^g 



^ 



^ fefe^Erfi^g^: 



: q 



1. They may talk about health, They may brag about wealth, Of re - 



\=5=i~- 



Z:4rSr-*r 



9-^ 



t=t 



■r-.-ii—M g " 



#* 



:4=* 



• #-?-#- 






^ 



]atioii8 6o tine and so grand . . But much better by far,Than those 



i 



S - 



^&r &" : ■* ■* — 



, r * — r- 



1 



P 



5^J 



1=4- iT^T 



& 



at -tributes are, Is the grasp of an honest hand.... Foi 



ESjEEf^f 



- — « -&- ,-a-f 



3@=3t 



O 7* 



I 



tz±rfcb=H 



ACT II. 



*"*- 



iZ^v 



^-^- ^ pz=iivzgB =^-^ 



19 



^^m 



money is spent, And it's lost, and it's lent, And confirm th nt remark m aiy 



1J-& 



i I" 



77* 



H ' — ** i 1 — ^- 



St§ 



i 



\ 

/ 



i 



HV 



,0 



*-J =N-^i 






c:tn. Lies may Iny on ttic lip, Bnttliere'strathin the.errp, Oftlie 




£T 



= P= 



m/" 



S 



: -fr * 



3J=£ 



=P=F 



W==£rgt±: 



■S-V0- 



. chorus. 



§=&5 ^m=&mmm t] 



grasp of nn honest man. For money is spent. And it's 



mmsm 



T& 



=33=f=EEE^zl ^^11= 



lostand it's lent, And confirm that .remark many can, Lies may hang on the 



-I 0.-0 1 I • 0- 



£=«-*-€ 



-*-.— — h — h 
— 9 - 



-0.-0- 



&=* 



-%^£± 



%■ 



m 



-&. 



«--•- 






20 



i>j<;akkk than life. 






A=£E 



I 



lip, But there's truth in the grip, Of the grasp 



of an honest man. 






©-- 



^3=S£ 



^r*-T* 



^=tr^^g 





(liiiEiis 



■*■.-#--#■ 



When one's in the world, and invectives are hurl'd at your head by your 

friends and your foes : 
Then you find at that time, to be poor is a crime, a worse one than you 

would suppose ; 
When you're poverty's slave, there's to make you feel brave, and your 

flickering courage to fan, 
Why you'll find beyond price is the grip, like a vise in the grasp of an 

honest man. 

{shakes Garner's hand.) 

Garner. Now, then, all together ! 

CHORUS. 

When yon re poverty's slave, there's to make you fee! brave and your 

flickering courage to fan, 
Why you'll find beyond price is the grip, like a vise in the grasp of an 

honest man. 

During the ritorneUe of the accompaniment, Garner arranges the Guests by 

twos. 

Garner. There you are! you with this lady. (Guest and Mrs Min- 
gle. Gassitt and Charley keep up r. AU the others exeunt r. by stairs 

9 a yiy>) 

Garner. Now, then, secure your ladies for dinner. You'll have time 
for something sweet to clear your throat, Bolter. 



ACT II. 



21 



Bolter. I want nothing ; was I ever in better voice 1 
Garner. Why, there's nobody left for you. Here, take my arm ! {they 
go arm-in-arm to r. Sings) " Firm is the grip, the grasp of an honest 
man !" [They exeunt r., by stairs. Music dies away. 

Charley. That song grates on my nerves ! {seated, r. c, by table, think- 
ing) If I do not arrange it to-day. all will be discovered to-morrow. What 
shall I do 1 

Enter, d. in f., Gassitt. 

Gassitt (aside). They're all gone, are they 1 (romes to Charley, taps 
him on the left shoulder as a police officer does) Wake up ! 

Charley (starts tip). Ha! what's that 1 ? (recognizes Gassitt) You! 

Gassitt. You start as if you were took for felony. 

Charley. Felony 1 What do you mean 1 

Gassitt. Nothing. What should a friend mean 1 You ought to know 
me by this time. 

Charley. I ought to know you, but I don't, (goes to r., at foot of stairs) 
Well, will you join us 1 [Exit by stairs. 

Gassitt (aside). Join you ! I'd rather part you any day ! You marry 
Lucy ! Not if I can prevent it ! I wonder what makes me think so 
much of her 1 I never did of any other girl. Somehow or other, be- 
side her I feel like a regular low, common fellow ! She's something su- 
perior, quite above me. Ah ! Lucy, the day you make a happy man of 
Charley Garner, you'll make a broken-hearted one of Bob Gassitt. (c.) 
But you're not married yet, not yet! 

Enter, d. in v., Kedgely. 

' Kedgely. I beg your pardon, is Mr. Garner in 1 

Gassitt. No, sir ! (aside, surprised) Mr. Kedgely ! It must be some- 
thing uncommon to bring him here at such a time ! (aloud) Unless your 
business is particular, Mr. Garner would hardly like to be disturbed. 

Kedgely. It is very important. 

Gassitt. They are celebrating an anniversary of the old people's wedr 
ding. 

Kedgely. Poor old man ! 

Gassitt. It's no business that I could do for you 1 

Kedgely. No! Be so good as to tell Mr. Garner at once that I must 
see him. 

Gassitt (aside). It's some scrape Charley's got into, I'll stand to win 
on ! (aloud) Is it a message I can give 1 Is it anything I can do 1 

Kedgely. Yes, there is one thing you can much oblige my by 

Gassitt. And it is 

Kedgely. To get out ! (looks Gassitt in the eye. and Gassitt turns 
away, r. 

Enter, r., by stairs, Garner, gayly. 

Garner. Mr. Gassitt, we are one short at the dinner-table, and 

(comes down stairs, aside) Mr. Kedgely, here ! 

Kedgely (takes Garner's hand, half aside). My poor friend ! (c.) 

Gassitt. (at d. at head of stairs, aside.) Now for it ! (listens there awhile, 
then exits.) 

Kedgely. Now, that that highly objectionable young man has gone, 1 
will come at once to the point, Mr. Garner. I want to talk with you 

Garner. Yes, sir. (aside) My boy's master. I really feel quite trenv 
bling without knowing why. 



22 DEABEB THAN LIFE. 

Kkdgely. You can leave the company of your friends for a few min- 
utes 1 

Garner. Yes, sir, for a few — few minutes, sir. (agitated.) 

Kedgely (hand on Garner's shoulder, kindly). My poor old friend, pre- 
pare yourself for a great shock. 

Garner. Not — Charley 1 

Kedgelt. Charley ! You know that we have had, at various times, to 
make complaints of him. 

Garner. I know it, sir. And I know your kindness to him. But I 
have had a talk with him on this day — the anniversary of his dear moth- 
er's marriage. He is much improved ; he really is improving ! he is very 
contrite. 

Kedgelt. Would that I could think so. 

Garner. Don't you think so, sir ? Oh, for the sake of his mother, do 
try to think so ! Give him another trial. We were all young once, and 
did our little follies. Try him again, sir — you'll find him really improv- 
ed. Then, if he does go wrong you can be as stern with him as you like. 

Kedgelt. Little follies ! Mr. Garner, I can give it no other name than 
crime. 

Garner (indignant). Crime ! Mr. Kedgely, don't use that word to my 
boy ! Find another name, sir, find another name ! 

Kedgelt. I fully sympathize with you, my poor friend. 

Garner. My poor son ! 

Kedgelt. Out of respect for you, whom we know to be an honest man, 
we placed your son in a position of trust, where large sums of money 
passed through his hands 

Garner. Break it to me gently, sir, gently, if you can ! (represses his 
sobs with efforts.) 

Kedgelt. He had orders to pay a large sum to Messrs. Dean & Foth- 
eringay — and he never paid it. Harsh as the word may be, there is no 
other but forgery and embezzlement for such a double act of dishonesty. 

Garner. My boy. my poor boy ! 

Kedgelt. No one could regret more than I the sad duty I have 
been compelled to perform. It is a great blow — but you must bear it, 
my poor friend, you must bear it. I will leave you now, to compose 
yourself. Let it be a consolation to you that you have won a name for 
honesty and probity which none may excel ! [Exit, d. in f. 

Garner (tearfully). It has come at last! Bad company, and idle ways 
have done their wicked work ! My boy, my Charley — he has broken his 
father's heart! (falls into chair, l. c.) he has broken my heart! (sobbing.) 



r. by stairs, Lxjct. 

Lucy. Uncle, what is the matter with you 1 

Garner. Lucy ! (without looking up) go tell Charley I want to speak 
with him. Don't let his mother hear you. 

Lucy (going r., surprised, aside). How unlucky poor Charley is. (lightly) 
However, I've got him the money ! [Exit b., by stairs. 

Garner. He must go away from here — go far away, and his mother 
must know nothing about it. It would kill her — it would kill her ! 

Charley enters r., by stairs, unsuspectingly. 

Charley. Did you want me, father ? (to c. b., side of Garner, who re- 
mains seated, not looking at Charley.) 

Garner (in a tearful voice). Yes, Charley, I — I want to tell you some 



act ii. 23 

bad news » You must go away from here — anywhere out of this place ! 
All is discovered ! You must escape ! You are accused of forgery 

Charley. Forgery ! It is false ! 

Garner (rises, with joy). Stick to that, Charley, stick to that, and I'll 
tell Kedgely he lied, (c.) 

Charlet. Kedgely ! (hangs his head, r. c.) 

Garner. It is true, then, it is true ! (sad.'y— pause.) 

Charley (abruptly). Father! (/<7& inito Garner's aruw.) 

Garner. Charley, Charley ! (pause) There's not a moment to be lost. 
They may be coming to arrest you, and who could keep it from your 
mother then 1 

Charley. I will go. Father, I am not as bad as I seem. I was tempt- 
ed into it by bad companions. Bob Gassitt was my evil genius from the 
first. If this had not been discovered, I would have repaid it — I had 
the means of doing so. I have not been so bad. Don't tell mother ! 

[Music. 

Garner (determinedly). She shall never know it ! 

Charley. Anything but that ! (going r., with his hat.) 

Garner. No, not that way ! By the other door ! I'll give you money- 
to get away 

Charley (at d. in f.) I will begin a new life ! Kiss mother for me ! 
Say something to Lucy ! I will make no promises. You shall hear of 
me as a better man, if I live. Good-bye ! (very tearful voice) God bless 
you ! [Exit, D. in f. — Music kept up, piano. 

Garner. Charley ! (totters up c. to d. in v., looks off at open door) Char- 
ley, my boy, my darling boy ! Gone ! (comes down c. ; door closes) Gone ! 
God forgive him ! (clasps his hands, very faint voice) God forgive him ! 
(sinks into chair, L. C.) 

Lucy enters r. by stairs. 

Lucy. What's the matter, Uncle 1 
Garner. Lucy, don't leave me. 

Kedgely, enters d. in p.* 

Garner (to Lucy). Take hold of my hand ; don't let go of it ! A 
great blow has fallen on us 

Lucy (aside). Charley ! 

Garner. On me ! We were not so well off as you always thought. 

Lucy. What are you saying, Uncle? 

Garner. I risked too much in rash speculations. I hoped to have 
paid my losses honestly, but, in an evil hour, I took the money of my 
old employers 

Kedgely. You, Michael Garner ! 

Garner (not looking up). I took the money, I forged the receipt ! I — 
only I — have brought shame and disgrace upon this happy home ! 

Lucy. Mr. Kedgely, you will not proceed any further in this matter 3 
I am sure there is some mistake. The money is here. 

Enter, R. by stairs, Mrs. Garner. 

Oh, Aunty ! the money is here, isn't it 1 



LC<3T. GAKSfcR. KZBGTLT. 

O. t>. C. L. 



24 DEARER THAN LIFE. 

Mrs. Garner (is surprised). The money is here — but — Michael, what 
is the matter 1 

Lucy. Nothing ! (impatiently) the money — the money ! 

Mrs. Garner (tries to open box on sideboard up c.) Here, here ! the money 
is here, eh 1 Oh, it has been broken open ; the lock won't work ! 

Garner. The money ! What money 1 

Mrs. Garner (still trying to open box). You know, Michael, the money 
we have been saving up against Lucy's and Charley's marriage. It is — 
(opens box) gone ! 

Lucy. Gone ! 

Mrs. Garner. It is stolen ! 

Garner (rises). Stolen ! 

Mrs. Garner. Nobody knew where it was but you and me and Char- 
ley 

Garner (with grief and rage). Charley ! stolen by Charley ! Oh, bitter 
shame. (Bolter and chorus sing the chorus of " Honest Man," softly. The ac- 
companiment continues the ritornelle as curtain falls.) 

Mrs. G. Lucy. Gassitt enters d. in f 

Garner. Kedgely 

e. c c. l. c. 



SLOW CURTAIN. 



ACT. Ill 

SCENE. — Garret in dwelling-house, gas down, candle lit on table r. ; fire in 
fireplace, r. 1 e. set. Lucy discovered seated by table, sewing dress. 

Lucy. How weary I am of this work, (sighs) Ah ! I wish I had a hun- 
dred hands to work them to the bone for poor Uncle Michael. What can 
he do, poor dear ; what strength has he to compete with younger men ? 
When I think of our old happy home, and Uncle looked up to as the most 
honest of men, oh ! I feel sure that there was some horrid mistake ! I 
can't believe it ! Sometimes I think that it will all come -ight at last, 
and we can leave this dreadful place. Poor Aunty is a confirmed in- 
valid, dying of a broken heart. And Charley, my promised husband, 
where are you 1 Not here, in your place, working for your parents. 
Alas ! six months is gone since I last heard of him. Ah! (pause) I must 
get again to work. (sews. Knock, l. 1 e. d.) Come in ! 

Enter, l. 1 e., Mrs. Pellet, to c. 

Lucy. Oh, dear ! 

Mrs. Pellet. Oh, dear ! I should think it was, " oh dear ! " a respect- 
able housekeeper to be kept awaiting at a lodger's door for ever so long. 

Lucy. I am very sorry. I did not hear you at first. 

Mrs. Pellet. Oh, don't give yourself any trouble ! (loftily). I only 
came to tell you that there's a most respectable gent in the dog's-meat 



ACT III. *J5 

line as has been thinking of these rooms. He's in a large way, got his 
regular customers, and is punctual in his pay. So, if you haven't settled 
by to-night 

Lucy. You would turn us out 1 

Mrs. Pellet. There's no other all-turn-ative ! 

Lucy. You have a heart ! We have been unfortunate, but 

Mrs. Pellet. The rooms or the money 

Lucy. Surely, you are too despondent, Mrs. Pellet. Your house is al- 
ways full, and the other lodgers cannot be, I suppos:, like us 

Mrs. Pellet. Oh, do yon'? Then you're jist mistook! My landlord 
expecks his rent as reg'lar as clockwork, but the lodgers have no feeling 
for a poor lone woman. Once I had a husband as good as the best, and 
a house as grand as the finest, but, as my first-floor lodger says, where 
are we now 1 

Lucy. If you will only give us a little time, we will endeavor 

Mrs. Pellet. Oh, I can't be put off any more with your wheedling 
ways ! soft words won't pay the rates. 1 pays my way, and 1 expects 
others to act accordingly. I repeat, (stamps foot) I pays my way! 

Lucy. I know what you are alluding to, ma'am. Where should we go, 
if you were to be so hard. 

Mrs. Pellet. Go 1 why to the workhouse — like that poor old broken- 
down bloke who comes to visit you sometimes. 

Lucy. Shame ! 

Mrs. Pellet. Why shame 1 what else is the work-house for, but them 
as cant pay their way 1 

Lucy. Woman ! I forbid you to address me in this way ! 

Mrs. Pellet. You forbid 1 Woman ! I should like to know who you 
are calling a woman ! I'm no more of a woman than you are. I'm a re- 
spectable housekeeper, as pays my way ! 

Lucy. You shall be paid to-night, ma'am. In the meantime I request 
that you will withdraw. 

Mrs. Pellet. Young woman, pride will be your ruin ! Why, ain't 
there as good-looking a young man as the world ever saw, only awaiting 
for you to say the word, when he'll marry you. 

Lucy (rises). How dare you 1 

Mrs. P. Oh, I know all about it. Mr. Gassitt is only too willing to 
help your old folks, but you're too proud ! He's got a bold way about 
him, that would have made even me think him quite out of the common, 
when I was of your age ! 

Lucy. Mr. Gassitt has no heart, and would only intrude on our misery. 
You can prevent him. Do not let him in, I order you ! 

Mrs. P. Oh, dear me ! 

Lucy (submissively). I beg of you ! 

Mrs. P. (aside). And him giving me ray regulars to be let in ! (aloud) 
Mr. Gassitt is such a bold young man, that perhaps he won't mind my tell- 
ing him. We shall see. (goes l.) Mind you, I want my rent or my rooms ! 
Them's Sarah Pellet's sentiments, and she sticks to them ! (bangs l. 1 b. 
d. open icithjist, stamps her foot) and she sticks to them ! [Exit violently. 

Lucy. Oh, poor weak creature that I am, what shall I do 1 We have 
really come to the last step. Ah ! I must finish this to-night, (seated os 
before) To work, to work! (sews a little, then leans- her head on her a, ms 
weeping, on table, lifts her head) I cannot work! (produces letter from h/r 
bosom, unfolds it on table) Charley's last, (reads) "Heaven bless all at lionr\ 
I hope soon to be with you. It is very sad out here, all alone, but T pray 
for help, and I hope I shall comeback a changed man, by repentance and 
labor. Out here, away from the noisy city, I gee aH the iniquity of my 
crime— there I did not feel that, it even was a crime," 



\ 



26 DEABEB, THAN LIFE. 

Enter l., Gassitt, cane under arm, comes over r. c, looks at what Lucy is 
reading, smiles, recedes a little to c up, aside. 

j 
" By God's mercy I shall return worthy of you all." 

Gassitt. Hera ! 

Lucy (starts). You here % 

Gassitt. Reading something of interest, may I inquire % 

Lucy. Something of the highest interest. 

Gassitt. A letter — from Charley 1 (Lucy nods coldly) Ah, poor Char- 
ley! 

Lucy. Poor, indeed ! if he has sunk so low as to merit your pity. 

Gassitt. Ah! Is there nothing, Miss Lucy, that I can do to make you 
look more favorably on me 1 I am not going to give it up so easily. 
(crosses to R. side of table) You're all in distress — next door to starvation ; 
but a word from your lips would lift you out of it. I am not such a bad 
fellow. Lucy, I would go through fire and water for you. There's not a 
thing in the world I would not do to prove it ! 

Lucy (coldly). You know that Charley 

Gassitt. Charley! Oh, I know. I know all about it; more than his 
mother does. What would she give to be undeceived 1 

Lucy. Do you threaten 1 

Gassitt. No — not unless you force me to it. 

Lucy. It would kill her! Through all our troubles she has been keyt 
ignorant of her son's error. 

Gassitt (laughs). Error! Call it by its right name, and say crime! 
Come, there's nothing in my power that you shall not have. I have got 
an appointment abroad, (sits on table) A party in the wine trade who ap- 
preciates ray manners (leans across table towards Lucy) and business talents, 
has given me a berth. It ain't much, but it will help to something bet- 
ter, I hope. Say the word and you can leave the old people comfortable. 
(with his face close to Lucy's) Lucy, give a fellow a bit of a chance — just 
a little, least bit. 

Lucy (rises). Robert Gassitt, I am the promised wife of Charles Garner. 

Gassitt (goes to c, carelessly). Well, there was something I did not 
want to speak about yet, but you drive me to tell it. Lucy, you will 
never be the bride of Charles Gamer. 

Lucy. What do you mean 1 

Gassitt. Why, he is married already ! 

Lucy. It is false ! 

Gassitt. It is true! and if you won't believe me, there's Jack Wil- 
loughby who's come back by the last ship ; he saw it all. Charley was 

down with the fever a long while, and she nursed him (Lucy sobs, 

seated as before) So that's the way. (insinuating iy) Oh, how could you ex- 
pect steadiness of Charley — he was always flighty and changeable — never 
could settle long on one object. I didn't mean to tell you this until after 
you were Mrs. Gassitt — just to have some retort in store in case you 
should recall your model lover ! 

Lucy (sobs). Oh, oh! 

Gassitt. Well, I'll leave you to think it over. Make it " yes," and 
they'll all be left comfortable ; make it " no," and I don't know what you'll 
all come to ! (going up l. c. a little') I'll look in again for your answer. 

Voice of Michael Garner heard of l. 1. e., singing. He enters l. 1 e. d., 
as if cold. His manner is the reverse of that in the previous Acts, being 
dejected and broken down. 

Garner. Ha, ha ! here we are at home again ! 



ACT III. 27 

Lttct (rises). Uncle ! (kisses Garner.) 

Gassitt (aside). Ah, Master Charley, I rather think I have settled your 
business. [Exit quietly, L. 1 E. D. 

Lucy (looking around). Oh, where's 

Garner. Where's what 1 (at fire, r.) 

Lucy. Nothing, Uncle. 

Garner. It's not so werry cold when you're indoors. It's so very com- 
fortable to see a fire, (stamps his feet, checks himself) It's not so werry cold. 
Oh ! next I'll have the soles off. 

Lucy. It has been snowing. Your feet must be damp. 

Garner. Damp ! that's a good 'un. My feet damp ' I'm not one of 
your cotton-wool chaps, that's afraid of a little snow. Where's Aunt, 
my girl 1 

Lucy. She was not very well, and she is asleep in her room. 

Garner (half aside). What will she wake to? what will she wake to? 
(seated r. by fire.) 

Lucy (aside). To what indeed ! 

Garner (cheerfully). I am getting on fust-rate in my new place. 
I didn't know I knew my way so well — rally so well. And Meadows 
Brothers sent me to the most out-of-the-way places I ever see. I'm reg- 
ularly cut out for a messenger. When I was in business, I didn't take 
enough exercise — I'm making up for it now. 

Lucy (aside). Lucy Garner ! be a woman, and not a whimpering fool. 
(aloud, rising) Uncle, dear, won't you have your tea % (gets tea-things from 
cupboard r. u. E. comer, and sets table.) 

Garner. Well, I will, my dear, though I really wouldn't have thought 
of such a thing if you had not put it into my mind. I made a hearty 
meal late in the day — afraid you wouldn't think of waiting for me. It's 
such a long way to get to here — not too far ! oh, dear no, not too far ! 
and then it is so werry comfortable when you are here. I may say I 
rather like the walk. As Master Johnny says — he's oncommon fond of a 
joke — Master Johnny is, : ' I'm a rum 'un to look at, but a good 'un to 
go !" He's a merry chap, Master Johnny is. Ah ! this is something 
like — pour us out a cup of tea ! That'll warm one up ! 

Lucy (pours out tea into Garner's cup). Poor Uncle, I knew you felt the 
weather. Your hand is quite cold. 

Garner. My hand is cold, is it ? As long as the heart is warm, what 
does it matter ? the extremities are not to be thought of. Ah, that cup 
of tea warms me again. Gently with the butter, my dear, gently with it. 
I'm of a bilious nature, (mouthful) Bread and scrape, my dear ! bread and 
scrape! Well, really I am hungry, (quickly) notwithstanding the hearty 
meal I had late in the day ! But (suddenly) you are not eating anything. 
Won't you keep me company 1 

Lucy. Thank you, Uncle, but I have no appetite. 

Garner Ah ! Well, have you any more bad news 1 (eating and drink- 
ing business continued ) 

Lucy. Mrs. Pellet has been asking for her rent. 

Garner. Oh ! has she been at it again, the old rammaulus 1 That for 
her . ( snaps his fingers ) 

Lucy. She said she was going to let the rooms, and unless we paid the 
arrears she would turn us out ! 

Garner. Pooh ! She told me she would wait till the end of the week. 
By that time Bolter will be back. Bolter has a heart, and he'll help us. 
I've told him it was all a lie about my 

Lucy. All a lie "? What do you mean ? 

Garner (coughs). Eh ! oh, a pip^« of brenrl crone flown the wronsf vra^= 



28 DEARER THAN LIFE. 

{takes up loaf) Haven't you any more — is this all the bread in the house 1 

Lucy. Yes, Uncle, until I get this dress done and take it home. 

Garner {quickly). I rally must have a pipe ! {takes pipe from mantel- 
piece) I rally must ! I feel such a longing for tobacco ! {fills and lights 
pipe, aside) It isn't the first smoke I've taken in place of food for a time 
past, (gayiy) But mother Pellet — bless her benevolent old countenance ! 
what did she have to say 1 

Lucy. I told you, Uncle ! She knows you will have your wages of a 
Saturday night. 

Garner. My salary, my dear. Certain sums at a stated period are 
salary — plant that in your mind ! Then we'll pour the money into the 
voracious maw of mother Pellet! How about Sunday's dinner ? What'll 
be the residue 1 

Lucy. There's Aunty's medicine to be paid for. 

Garner. Aunty's medicine ! Bless me, I forgot ! True ! Oh, I've got 
an invitation out to dine on a Sunday ! Old Tom Matthews of our office 
— a most respectable old chap — often asked me to take dinner with him, 
and I really must oblige him. So I won't come home till late {his voice 
has gradually wavered as if he was too tired to keep up the mock gayety. He 
sits, half bent over fire, smoking. Pause ; abruptly looking round) I think this 
is not so bad a place after all when you come to look at it ! A little high 
up, I grant you, but so quiet and free from intrusion, {faint knock l. 1 e. 
d. ) Eh % {turns slightly) Ah ! smoke is the best friend ! Do you know 1 
rally wish you could take a pipe with me, Lucy ! You'll find it such a 
comfort ! 

Lucy {smiling sadly). Oh, Uncle, the idea of my smoking ! 

Garner {shaking his head). I don't know about that, my dear ; I hear 
it's beginning to be the fashion in the tip-toppest society. You see the 
old women at the apple-stands enjoying their pipe. It's only the ex- 
tremes meeting, rich and poor — high and low ! {knock louder, l. 1 e. d.) 

Lucy. I know that knock ! It's Uncle Ben's tap ! {rises.) 

Garner. No, my dear, Uncle Ben's tap is a great deal nearer the pub- 
lic-house ! 

Ben ( puts his head in l. 1 e. d.) May I come in 1 

Garner. Come in. 

Enter Ben, to l. c. slowly. 

On-tray, on-tray ! as the French say ! 

Ben {to Lucy). Come and kiss your poor old nunkey. 

Lucy {going up r. c. to avoid him, taking tea things to cupboard). I am very 
busy — very busy — and Uncle is much occupied ! [Exit, r. 1 e. d. after 
putting things away.) 

Ben {whining, looking up r. after Lucy). She don't want to welcome 
her old nunkey. Pride, Michael, haughty pride ! 

Garner {smoking pipe). Yes, we've got so much to be proud of— especial' 
ly our relations ! {looks up significantly and then turns his eyes from Ben again.) 

Ben. It's all because of your rise in the world. 

Garner. A rise, yes, from the first-floor to the attic — we can't go much 
loftier ! 

Ben {maudlin). Michael, can you forgive me ! {takes Garner's hand, 
and, to mark his speeches, strikes it on table) Say you will forgive me ! 

Garner. If it will be any satisfaction to you, I say I do forgive you ! 

Ben {strikes Garner's hand down on the table as before). Oh, bless you, 
Michael ! {in bringing the hands down a second time, Garner turns his so that 
Ben's knuckles strike.) Bless you ! 

Garner. This is a pleasant companion for a wet afternoon ! I should 
pay it would be an uncommon wet afternoon when you see him ! 



ACT HI. 29 

Ben (drunkenly). The Rules and Reggie — reg — gleggle — guggle {stam- 
mering.) 

Garner. Rules and Regulations — perhaps 1 

Ben. The Rules and Reg — {with cm effort) gle-ations of the social in- 
stitution in which I am doomed, 1 repeat, I am doomed, {trying to seize on 
the next word, drunkemy) doomed 

Garner. Well, keep on saying " I am doomed !" if it's any relief to 
you. It sounds like swearing, when it ain't ! 

Ben. The rules and regulations kept me from coming to see you be- 
fore 

Garner. Then hooroar for the rules and regulations ! 

Ben. Say once more, that you forgive me. 

Garner. Twice more, I forgive you. 

Ben. Do you forgive me, Mike, for everything I have done 1 

Garner (in affected horror). Why, you haven't-been and gone and done 
everything, have you 1 Here's a man that has gone and done everything, 
and an ungrateful country lets him waste his sweetness in the work'us'. 
i; Oh, Albion ! oh, my country, oh ! " 

Ben. Michael, I have done you a great injury. I'm an old willain ! 
(fads into chair by table.) 

Garner. Old you are, but villain is not the proper word for my brother. 

Ben. Michael, I've lost my peace of mind. It's preying on my con- 
science, and driving me to an early grave ! I see my crime before me in 
all its deformity, in the sere and yellow leaf— in all my sereness and yel- 
lowness ! I am going — I am going ! 

Garner (offei s his hand). Good-bye ! 

Ben. You seem very eager to get rid of me, Mike, (hand in pocket) I've 
brought a little present to you— a slight return for my wrong doing. 
It is not much, {produces bottle) but it's the best I can do for you in the 
miserable state to which I am condemned. 

Garner (contemptuously). Drink gin 1 

Ben. It is vulgarly so called, but taken in moderation it is known as 
juniper. I wanted to bring you something as a return, and that's the 
only thing that I'm a judge of. (rises) Good-bye ! 

Garner. Don't hurry yourself. 

Ben. Bless you, bless you ! (goes to l. 1 e., slowly.) 

Garner, (follotvs him with candle). Good-bye. 

Ben (at l. 1 e. d.) Give my love to Sal ! As for Lucy, she is a little 
spit-fire ! (half crying) Good-bye ! Bless you, bless you ! Oh ! 

y [Exit L. 1 E. D. 

Garner (blows the candle out as if the opening of the door did it). There's 
the light out now ! (calls off l. 1 e.) Mind the loose stairs at the bottom ! 
(closes door and goes tip c. to put candle on table there) Ah, Michael Garner ! 
you've sunk low enough in the world, but you've not sunk so low as drink 
yet ; (at table r. e. front) after all, though, it was kindly meant of the old 
chap. 

Moonlight in at uindow in f., Garner seated by fire. 

I wonder what he meant by his maunderings on crime and forgiveness 1 
It must be a touch of the trimmings. There's nothing like the trimmings 
to turn a man's head. I once had an uncle who had the trimmings ; he 
used to fancy himself the front door, and wanted his chain on, and to be 
locked up every night. When latch-keys come into iashion, it reg- 
ularly broke his 'heart, (takes up bottle) It don't smell bad. (tastes jrom bot- 
tle) I don't wonder at Uncle Ben taking a drop, now and then. It s a 
comfort, and he needs a comfort, (drinks) Ah! brave old Tom! you 
warm me like a regular furnace. There's nothing to interfere with you. 



SO 1>EAKER THAN LIFE. 

where you are going, old Tom ! I'm empty ! You are like Mr. Alexan- 
der Selkirk, on the desert island, jou'ie " Monarch of all you survey ! " 
{gets drunk) " May we never want a i'riend." (drinks) " May the evening's 
amusement bear the " — " a bottle to give him ! " (about to take up botae, but, 
draws buck his hand) ]S T o ! I must have my pipe, (rises, unsteady of foot to 
get pipe on mantel, drunken business of taking it by the bowl, and finally breaking 
it) Oh, my head is splitting! (stands reeling) The room seems waving — wav- 
ing — waving, like the sea. It's the drink that's done it — it's the drink. 
And I have had no food — no food for days. I am starving ! Michael 
Garner is starving! (catches at table not to fall.) and my wife is there 
(waves his hand towards r. u. e.) dying — the food, that might have kept 
her alive, denied her. It's a bad world, they're all rogues or fools in it. 
The fools are fools for not being rogues !_ All is going round again ! (to 
c.) I feel as if I was walking on air ! (returns to chair l. side of table, and 
falls into it, head on his -breast, with agitated hands, etc.) 

Enter, r. u. e. d., Lucy. 

Lucy (gayly). Oh, I am so glad that Uncle Ben has gone ! (tip l. c.) 

Garner (fiercely). What are you glad that Uncle Ben's gone for ! Uncle 
Ben never did any harm to you, did he % (Lucy recedes to l. c. in surprise) 
Because Uncle Ben's in the poor-house is he any the worse for that 1 

Lucy (aside). Oh, this is the final blow ! (clasps her hands) Why are you 
not here, Charley'? 

Garner. Charley % What are you muttering about Charley 1 

Mrs. Garner enters r. u. e. d. during the ensuing and stands up c, in moon- 
light, listening* 

Hain't there been enough sacrificed to him % 

Lucy (bewildered). Uncle, dear Uncle, what does this mean'? 

Garner (furiously). Do you think I committed that robbery. It's lime 
all this nonsense was put a stop to ! It's time this model son, this favo- 
rite of the family was shown up in his true colors ! (about to take up bottle.) 

Lucy. Don't take any more of that dreadful stuff, Uncle ! It will do 
you ill! (plaintively) You used to do everything I asked of you, Uncle, 
once ! (kneels to Garner and puts arms about his neck) Do so now ! do so 
now ! (Garner pushes the bottle from him) Dear Uncle, (embraces Garner 
and rises.) 

Garner. I'll not be cajoled by your persuading ways ! Do you set 
yourself up to defend the scapegrace 1 Know him first, the scamp ! 

Lucy. Don't ! 

Garner. A mean-spirited scoundrel who has brought us all to this, 
drowned my good name in shame, driven me to drink, broken my heart ! 
He stole from his own mother ! He plundered his masters. My hands 
are unstained by guilt ! He, Charley, Charley, was the real criminal — my 
son was the forger and the thief! 

Mrs. Garner. Ah! (prolonged scream ; falls full length.) Lucy (turns.) 

Garner (not looking round). Who's that 1 (riscs^. 

Lucy (lifts up Mrs. Garner^ Aunty, Aunty! dear Aunty! 

Garner. She here! Then ail is out at last. 

Mrs. Garner. Lucy, don't leave me, don't leave me ! What's that I 
heard % I shall go mad ! 

Mrs. Garner. 
Garner seated. Lucy. 

R. C. C. L. C. 



ACT III. 3J- 

Lucy. Don't mind Uncle. He is in drink; ho don't know what ho is 
saying ! 

Garner {putting on drunkenness). I'm drunk— I don't know what I am 
saying, {goes 10 r. around tabic; aside) Ail is over ! (Lucy placet Mrs. Gar- 
BBR jm chair vacated by Garner) The secret I have kept from her all 
these many years known to her at last ! 

Mrs. Garner. Michael, Michael 1 you didn't mean what you were 
saying 1 Tell me you did not ! 

Garner. No, no ! 

Lucy. Uncle did not mean anything by it. 

Mrs. Garner. My dear boy was always good, and kind, and honest 
as the day ! (rises.) 

Garner (tremulously). Yes, he was good, and kind and (with an effort 
after pause) honest, {he lights candle during following.) 

Mrs. Garner. I thought I heard you say dreadful things of Charley. 
I thought I heard his name coupled with crime. You didn't mean it, 
Michael 1 Sleeping in that lonely room, I thought I saw the face of my 
dear boy, sadder than ever. He sighed to come back, (clings to Garner 
c.) Oh, why did you let him go away 1 

Enter l. 1 e. d., Mrs. Pellet. 

Mrs. Pellet. May I come in 1 

Garner. Well, what do you want 1 

Mrs. Pellet. My rent, or my apartments. 

Lucy. Mrs. Pellet ! Oh, your money will be ready for you — soon. 
I'll speak to you presently. 

Mrs. Pellet. Oh, I have had enough of your persuasive ways, miss. 
Ain't I to speak — me that pays my way 1 

Lucy {pushes Mrs. Pellet to r. 1 e ). Another time, another time. 

Mrs. Pellet. Another time won't do for me with lodgers that haven't 
got a penny to bless themselves with. I want's my money or my rooms, 
my money or my rooms ! {the row continued, while Lucy pushes Jur out and 
follows her off L. 1 E. d.) 

Mrs. G. If I could only see the face of my dear boy, really again, I 
would die in peace — I would die. 

Garner (on her l. side, cheerfully). How you talk, Sally. You're not 
one of the dying sort, you want a mouthful of fresh air — it would regu- 
larly make you young again. You shall have it, too, when Bolter comes 
back. 

Mrs. G. I fear I have been very selfish, in letting the hours slip by 
without my sharing in the daily work. Do you know, my dear Michael, 
that it seems to me, in the midst of our privations, that 1 never loved 
you so well before, when we were well off? 

Garner. Not a doubt of it, my love. Young, first love is all very well 
in its way, but it's like a fire fresh lighted — it sputters, and fizzes, and 
throws out a lot of sparks and smoke — a deal of smoke. But when in 
time it settles down to a steady flame, it burns clearer, and gives out a 
brighter light, and, depend upon it, it is warmer. 

Mrs. G. Michael ! 

Garner. My dear wife! (they embrace.) 

Enter Lucy, l. 1 E. d., laughing, gas up gradually to full turn on. ' 

Lucy. Ha. ha, ha ! (immoderately joy ftu.) 

Garner. Hullo! what's the matter'? Have you been comn- \o 



32 DEARER TliAiN LlJb'E. 

blows 1 Lucy, uiy girl, it was very wrong of you to pitch into Mother 
Pellet, for weight was agin you ! 

Lucy. Ha, ha ! I'll have it out directly ! 

Garner. I should think you had been having it out ! 

Lucy. Oh, Aunt} 7 {checks herself) A — a gentleman is come to havo 

' a look at the rooms. But you needn't go away. 

Lucy lets in Charley, who keeps his face averted l. 1 e. d. and then goes up 
c. with Mrs. Garner. 

This is the gentleman, Uncle ! {aside) Can this be true % 

Garner* (to Charley, who has taken chair l. c, front). Sir, you really 
would oblige us if you could wait a day or two. The truth is, we're very 
hard up just now 

Charley {gruff voice). That's very awkward ! 

Garner. It's ver} r awk'ard on us, sir. We are at starvation point, and 
it would be very hard to turn us out. 

Charley. Starvation 1 

Garner. A very good imitation of it then. 

Charley. I can stand this no longer ! (rises, hat off) Don't you know 
me ] 

Mrs. Garner. My boy ! (embraces Charley. Lucy puts chair up l. out 
of the wag.) 

Garner. Charley, what does this mean'? (r. bg head of table.) 

Charley. Mean 1 It means that I have come back to pay all your 
debts and set you up again in the old shop and home, and to make Lucy 
my darling wife ! (takes Lucy's hand.) 

Garner. Eh 1 Marry Lucy. Why, your talking of committing bigamy ! 
Ain't you married already 1 

Charley. Me married 1 No ! Could you think me such a scamp 1 

Garner. Oh, I don't know about that ! Well, now, I begin to see into 
this ! 

( Voice of Gassitt heard off l.) But I tell you I will go in ! 

Charley. His voice ! I have been betrayed by him ! 

Garner (aside). I'm getting in the clouds ! Charley here, a-standing up 
so proud and a-looking me in the eye honest-like ! I begin to believe he'll 
turn out all right after all ! 

Enter, l. 1 e. d., Gassitt, surprised at seeing so many in the room, but not 
recognizing Charley. 

Gassitt. Hullo ! 

Garner. Hullo yourself, and ever so many more hullos on top of them, 
and one more little hullo to finish off with ! (hands on his hips, arms akimbo, 
confronts Gassitt) Well, what do you want 1 

Gassitt. Your — your landlady tells me ~ 

Garner. My landlady ! You let my landlady alone ! Mother Pellet 
is old enough and ugly enough to look after herself, and has no need of an 
honorary secretary ! 

Gassitt. Very well, then, I ■ 

Garner. Go and interfere with your own landlady ! Or is it part of 
your profession as the Honorary Secretary of the Associated Landlady's 
Antedeluvian Benevolent Society 1 

* Mrs. Garner. Lucy. 

Garner. Charley (seated l. c, front. 

B. C. O. L. O. 



ACT III. 33 

Gassitt. I want to speak to you, Lucy. 

Garner {getting before Gassitt). Who are you calling "Lucy 1" I'd 
like you to know that that young lady's name is Miss Garner, which it 
will continue to be so when she changes it, and the reason she won't 
change it when she does change it, is because she's going to marry my 
son and be more than ever in the family. 

Gassitt. Is she 1 He's already married ! 

Charley {advances). That is false ! 

Garner. What do you say to that, Mr. Honorary Secretary ] 

Gassitt {recovers himself). Charley, you have come back ! {sneers) Ain't 
you afraid ? 

Charley. Of what 1 

Gassitt. Of what generally alarms the thief and the forger — arrest, ! 

Charley. That is all over. But you ! how is it I find my family in 
poverty 1 where's the money I sent you for them 1 

Gassitt. I never had it ! 

Charley. Why did you send me receipts then 1 

Garner. Hullo ! money sent home to us by Charley ! {arms akimbo 
again) Mr. Honorary Secretary, things look fishy! We never had tho 
money ! 

Gassitt. I couldn't find them before, {sullenly.) 

Garner. And you was always a-coming to see us? Oh, no ' I begin 
to think you are not coming out of this with hands as clean as an hono- 
rary secretary should ! 

Gassitt. Another insult ! and I'll let your mother know 

Charley. She does know all about it. 

Enter, l. 1 e. d., Ben. 

Gassitt. What ! that you, not content with forging and bleeding your 
father, broke open the strong box and stole the savings of your mother 
like the meanest, vilest, paltriest thief 

Charley. Scoundrel ! you lie ! {restrained by Lucy.) 

Garner. No fighting, Charley ! {to Gassitt) He says you Ik) \ 

Gassitt. You ought to know. 

Garner. Then I should say you do ! 

Ben {comes to l. c.).* He does. 

All {except Gassitt). Uncle Ben ! 

Garner. How do you come, I thought the Rules and Regulations 

Ben {snaps fingers). That for the Rules and Reggleations ! What are 
Rules and Reggleations to a guilty mind ! I took the money ! I knew 
Sally was saving up a trifle for her poor brother-in-law ! So, one day 
when the temptation was too much for my grey hairs, I broke open the 
box and took the money. 

All. Ah ! 

Ben. I am not long for this world — do forgive me. 

Garner. Why you lucky, old, harmless, disgraceful man ! I have a 
mind to knock your venerable old head against that venerable old wall ! 
Get out of the way— I'll speak to you bye-and-bye. (Ben goes up l. To 
Gassitt) Now, then, where's the money you had for us 1 

Gassitt. Spent ! The last remittance went to pay my passage out to 
Bungaroo. 

Garner. What's Bungaroo ? 



*Mes. Q. Chaeley. Lucy. 

Gabneb. Ben. Gassit*. 

B. O. O. L. O. L. 



34 



DEARER THAN LIFE. 



Gassitt. On the West Coast of Africa. 

Garner. Mr. Gassitt, you have done us all the injury that was in your 
power. You can do us a great favor — will you I 

Gassitt. What is it 1 

Garnkr. Take Uncle Ben out to Bungaroo with you ! You won't 1 
Then don't lei's see your physimahogny any more, {forces Gassitt to l. 
1 r.) Don't you stop to make any long speeches. The stairs are steep 
and Charley's boot-toes are sharp % 

Gassitt (at l. 1 r.J Any commissions for Bungaroo? 

Garner. No ; my compliments to Mr. Bungaroo ! (turns from door, 
after Gassitt goes out, and then calls off) And my compliments to Mother 
Pellet, and she can put the card up in the window — we shan't want her 
rooms in a hurry again. 

Mrs. Garner. My good husband ! 

Garner. My dear wife ! {embraces Mrs. Garner) The clouds were 
thick for a while, but the storm has blown over at last, after teaching us 
the lesson that we should have a kindly word for our friends, who can 
help us so much in this world by their smiles and their cheerful looks, 
which are to us dearer than life. 

Garner and Mrs. Garner hand in hand, l. of c, Lucy and Charley, 
hand in hand, r. of c. 

CURTAIN. 



EXPLANATION OF THE STAGE DIRECTIONS. 

The Actor is supposed to face the Audience. 



E.U. E. 



SCENE. 



B.2E. 



/ 



B. 13. 



/ 



/ 



\ 



\ 



\ 



L.2E. 

l. 1: 



B. 


B. 0. 0. 

ATJDIENCE. 


X.. 0. x* 


L. 


Left. 




c. 


Centre. 


L. C. 


Left Centre. 




B. 


Right. 


L. 1 E. 


Left First Entrance. 




E. 1 E. 


Eight Eirst Entrance. 


I.2K 


Left Second Entrance. 




B. 2e. 


Right Second Entrance. 


Xi. 3e. 


Left Third Entrance. 




n. 3e. 


Right Third Entrance. 


L. U. E. 


Left Upper Entrance 




B. U. E. 


Right Upper Entrance. 


(wherever this Scene may be.) 




D. E. C- 


Door Bight Centre. 


D. L. c. 


Door Left Centre. 









-_ < ^/. d» Jfcfc \gr j^^sss^ 

§1 





■ 

-r- "S;.V39t3st Sh-ike^perc, Nature's child 
Warbles his native wood-notes wild."— Milton. 

IfHP 5 Please notice that nearly all the Comedies, Farces and 
Comediettas in the following List of "De Witt's Acting Plays" 
are very suitable for representation in small Amateur Theatres 
and on Parlor Stages, as they need but little extrinsic aid from 
complicated scenery or expensive costumes. They have attained 
their deserved popularity by their droll situations, excellent 
plots, great humor and brilliant dialogues, no less than by the 

fact that they are the most perfect in every respect of any edi- 
tion of Plays ever published either in the United States or 
Europe, whether as regards purity of the text, accuracy and 

fulness of stage directions and scenery, or elegance of typo- 
graphy and clearness of printing. 

*J* In ordering, please copy the figures at the commencemetit of each 
piece, which indicate the number of the piece in "De Witt's List op 

Acting Plays. 1 ' ^ 

ft^f* Any of the following Plays sent, postage free, on receipt of 
price — fifteen cents.; 

Address, ' ROBERT M. DE WITT. 

JVo. S3 ■Hose Street, JVetv York. 



IDE WITT'S .AOTX2TG PLAITS- 

No. 

1 CASTE. An original Comedy in three acts, hy T. W. 

Robertson. A lively and effective satire upon the times, played successfully in 
America, at Wallack's. Five male and three female characters. Costumes, 
modern. Scenery, the first and third acts, interior of a neat room ; the second 
a fashionable room. Time in representation, two hours and forty minutes. 

2 NOBODY'S CKIL.D. A romantic Drama in three acts, by 

Watts Phillips. Eighteen male and three female characters. A domestic 

drama, wonderfully successful in London, as it abounds in sthrii g PCelies 
and capital situations. Costumes modern, suited to rural life in Wales. 
Scenery is wild and picturesque. Time ill representation, two hours and a 
quarter. 

3 £100, 000* An original Comedy in three act-*, "by Henry J. 

Byron. Eight male and four female characters. A most effective piece, 
played with applause at Wallaces. Costumes of the day. Two scenes ate 
- required— a comfortably furnished parlor and an eleganl apartment. Time 
in representation, one hour and three quarters. 



DE WITT'S ACTING PLAYS. 



No. 

4 DANDELION'S DODGES. A Farce in one act, by Thomas 

J. Williams. Four male and two female characters. A rattling piece. The 
part of Dandelion excellent for a low comedian. Costumes of the day. Sce- 
nery, a picturesque landscape. Time in representation, fifty minutes. 

5 "WILLIAM TELL "WITH A VENGEANCE; or, the Pet, 

the Patriot and the Pippin. A grand new Burlesque by Henry J. Byron. 
Eight male and two female characters. Replete with telling allusions. Cos- 
tumes of the period of the middle ages, grotesquely exaggerated. Five 
scenes in Switzerland. Time in representation, one hour. 

6 SIX MONTHS AGO. A Comedietta in one act, by Felix 

Dale. Two male and one female characters. A really effective little piece, 
suited to amateurs. Costumes of the day. Scene, morning room in a country 
house. Easily produced. Time in representation, forty minutes. 

7 MAUD'S PERIL. A Drama in four acts, by Watts 

Phillips. Five male and three female characters. Strong and sensational. 
Costume of English country life of the period. Scenery not elaborate. Time 
in representation, two hours and a half. 

8 HENRY DUNBAR ; or, a Daughter's Trials. A Drama 

in four acts, by Tom Taylor. Ten male and three feirale characters. One 
of the best acting plays of the day. Costumes of the period. Scenery 
modern English. Time in representation, three hours. 

9 A FEARFUL TRAGEDY IN THE SEVEN DIALS. 

A farcical interlude in one act, by Charles Selby. Four male and one 
female characters. A very laughable piece, easily produced ; certain to bring 
down the house. Costumes of the day. Scene, a genteelly furnished bed- 
room. Time in representation, forty minutes. 

10 THE SNAPPING TURTLES; or, Matrimonial Masque- 

rading. A duologue in one act, by John B. Buckstone. One male and one 
female character, who assume a second each. A very ludicrous farce ; has 
been eminently successful. Costumes of the day. Scene, a drawing room. 
Time in representation, one hour. 

11 'WOODCOCK'S LITTLE GAME. A Comedy Farce in 

two acts, by J. Maddison Morton. Four male and four female characters. 
A sparkling, lively composition, by one of the most humorous dramatic 
authors. The part of Woodcock has been performed by Charles Mathews 
and Lester Wallack. Costumes of the period. Scenery, modern apartments, 
handsomely furnished. Time in representation, one hour. 

12 A WIDOW HUNT. An original Comedy in three acts, 

by J. Sterling Coyne. Four male and four female characters. An inge- 
nious and well known alteration of the same author's " Everybody's Friend," 
the part of Major Wellington de Boots having been rendered popular by Mr. 
J. S. Clarke in England and America. Costumes and scenery of the 
period. Time in representation, two hours and a half. 

13 RUY BLAS. A romantic Drama in four acts, from the 

French of Victor Hugo. Twelve male and four female characters. This 
piece was eminently successful in London when produced by Mr. Fechter. 
It contains numerous scenes, capable of being performed unconnected with 
the drama, by amateurs. Spanish costumes of U92. Scenery, halls and apart- 
ments in the royal palace at Madrid. Time in representation, three hours 
and a half. 

14 NO THOROUGHFARE. A Drama in five acts, with a 

prologue, by Charles Dickens and Wilkie Collins. Thirteen male and six 
female characters. Very successful as produced by Fechter in England and 
by Florence in America. Costumes modern but often changed. Scenery 
complicated ; English exteriors, Swiss interiors and Alpine passes. Time 
in representation, three hours and forty minutes. 

19> MILKY WHITE. A domestic Drama in two acts hy H. 

T. Craven. Four male and two female characters. A good acting, pathetic 
piece. Costumes English, of the present day. Scenery, an exterior and in- 
terior. Time in representation, one hour and a half. 



DE WITT'S ACTING PLAYS. 



7 



No. 

16 BEARER THAN LIFE. A serio-comic Drama in three 

acts, by Henry J. Byron. Six male and five female characters. An effective 
piece, which could be reaaily performed by amateurs with success. Cos- 
tumes, English of the ony. Scenery, two interiors, easily arranged. Time in 
representation, two Lours. 

17 KIND TO A FAULT. An original Comedy in two acts, 

by YV illiam dough. Six male and four female characters. A well written 
composition with well drawn characters. Costumes of th" present day. 
Scenery, two elegantly furnished interiors. Time in representation, one 
hour and twenty minutes. 

18 IF I HAD A THOUSAND A YEAR. A Farce in one 

act, by John Maddison Morton. Four male and three female charac- 
ters. A sp'endid social sketch— the part of Green being excel ent for a good 
light comedian. Costumes of the present day : and scenery, a neatly fur- 
nished interior. Time in representation, one hour and fifteen minutes. 

19 HE'S A LUNATIC. A Face in 021& act, by Felix Dale. 

Three male and two female characters. A sprightly, laughter-provoking 
production. Modern dr sscs ; and scene, a drawing room. T me in repre- 
sentation, forty minutes. 

20 DADDY GRAY. A serio-comic Drama in threo acts, 

by Andrew Ilaliiday. Eight male and four female characters. One of the 
author's most effective and natural compositions. Dresses of the present &<\y. 
Scenery, interior of a cottage, a lawyer's office, street and archway, and 
cottage with landscape. Time in representation, two hours. 

21 DREAMS ; or, My Lady Clara. A Drama in five acts, by 

T. W. Lobertson. Six male and three female characters. Full of thrilling 
incidents, with several excellent parts for both male and female. Was suc- 
cessfully brought out at the Boston Museum and New York Fifth Avenue 
Theatre. Costumes, modern German and English. Scenery, interiors and 
gardens, rather complicated, but effective. 

22 DAVID GARRICK. A Comedy in three acts, by T. W. 

Robertson. Eight male and three female characters. Most effectively per- 
formed by Mr. Sothern in England and 111 America with decided success." Cos- 
tumes, court dresses. Scenery, two interiors antiquely furnished. Time in 
representation, one hour and three quarters. 

23 THE PETTICOAT PARLIAMENT. An Extravaganza 

in one act, by Mark Lemon. Fifteen male and twenty-four female charac- 
ters. A revision of the "House of Ladies." Performed With great success 
at Mitchell's Olympic in New York. The costumes are extremely fanciful 
an 1 exaggerated. Scenery, modern English. Time in representation, one 
hour and live minutes. 

24 CABMAN No. 93; or, Found in a Four Wheeler. A 

Farce in one act, by Thomas J. Williams. Two male and two female char- 
acters. A ludicrous piece, with a cabman for the first low comedian, and a 
stock broker as eccentric character part. Costumes of present day. Scene, 
a furnished room. Time in representation, forty miuutes. 

25 THE BROKEN HEARTED CLUB. A Comedietta, by 

J. Sterling Coyne. Four male and eight female characters. A laughable 
satire on the Women's Eights movement. Costumes modern English. 
Scenery, a drawing room. Time in representation, thirty minutes. 

26 SOCIETY. A Comedy in three acts, by T. W. Robert- 

son. Sixteen male and five female characters. A play exceedingly popular, 
intended to exhibit the foibles of British Society and to ridicule the election 
system. Costumes of the present day. Scenery elaborate. Time in repre- 
sentation, two hours and a half. 

27 TIME AND TIBE. A Drama in three acts and a pro- 

logue, by Henry Leslie. Seven male and five female characters. An effec- 
tive piece, with novel and striking incidents. Costumes English, present 
day. Scenery, London marine scenery. Time in representation, two hours. 



DE WITT'S ACTING PLAYS. 



No. 

28 A HAPPY PAIR. A Comedietta in one act, by S. 

Theyre Smith. One male and one female character. A neat dramatic 
sketch of ;i conjugal misunderstanding. Modern dresses. Scene, a drawing 
room. Time iu representation, t weaty minutes. 

29 TURNING THE TABLES, A Farce in one act, by John 

Toole. Five male and three female characters. One of the happiest efforts 
of the famous author of "Paul Pry." The part or" Jeremiah Bumps is re- 
dolent with quaint humor. A standard acting piece. Dresses and scenery 
of the Dresent day. Time in representation, sixty-five minutes. 

30 THE GOOSE WITH THE 63L3EN E3G3,, A Parce 

in one act, by Augustus Mayttew and Sutherland Edwards. Five male and 
three female characters. Gay, rollicking, full of incessant action, having 
three of the most comical characters imaginable. Costumes of the present 
period. Scene, a lawyer's office. Time in representation, forty-five minutes. 

31 TAMING A TIGER. A Farce in one act, altered from 

the French. Three male characters. In this a dashing light comedian and 
fiery; petulant' old man cannot fail to extort applause. Modern dresses : and 
scene, a modern apartment. Time in representation, twenty five minutes. 

32 THE LITTLE REBEL. A Farce in one act, fey J. Ster- 

ling Coyne. Four male and three female characters. An excellent piece 
for a sprightly young actress. Dresses and scenery of the present day. Easy 
of production. Time in representation, about forty-five minutes. 

33 ONE TOO MANY FOR HIM, A Farce in one act, by 

Thomas J. Willi,. .;us. Two male and three female characters. Adapted 
from a popular French vaudeville. Costume of the time. Scene, parlor 
in country house. Time of representation, fifty minutes. 

34 LARKIN'S LOVE LETTERS. A Farce in one act, by 

Thomas J. Williams. Three male and two female characters. The piece 
has excellent parts for first low comedy — first old man and a soubrette. 
Dresses of the day. Scene, a parlor. Time in representation, forty minutes. 

35 A SILENT WOMAN. A Farce in one act, by Thomas 

Hailes Lacy. Two male and one female characters. One of the prettiest 
little pieces on the English stage. Dresses of the period. Scene, a drawing 
room. Time in representation, thirty-five minutes. 

36 BLACK SHEEP, a Br am a in tiive a acts, f com Edmund 

Yates 1 novel of the sSme name, and arranged for the stage by J. Palgrave 
Simpson and the author. Seven male and five female characters. Costumes 
of the present time. Scenery, an interior ; gardens at Homburg, and a 
handsome parlor. Time in playing, two and a half hours. 

37 A SILENT PROTECTOR. A Farce in one act by Thom- 

as J. Williams. Three male and two female characters. An active, bust- 
ling piece of ingenuity, which affords abundant opportunities for the display 
of Quickfidget's eccentricities. Costumes of the period. Scene, a drawing 
room. Time in representation, forty minutes. 

38 THE RIGHTFUL H£IR. A Drama in five acts, by Lord 

Lytton (Sir Edward Lytton Bulwer). Ten male and two female characters. 
A revision and improvement of tne author's play of the "Sea Captain," 
originally produce.l under management of Mr. Mac-ready. Costumes of the 
English Elizabethan period, armor, doublets, tights, &c. Scenery pictu- 
resque and elaborate. The play contains numerous scenes and passage's, 
which could be selected for declamation. Time in representation, two hours 
and forty-five minutes. 

39 MASTER JONES' BIRTHDAY. A Farce in one act, by 

John Maddison Morton. Four male and two female characters. A very 
amusing and effective composition, particularly suited to amateurs. Dresses 
of the day ; and scene, a plain interior. Time of playing, thirty minutes. 

40 ATCHI. A Come lie tta in one act, by John Maddison 

Morton. Three male and two female characters. A gem in pleasantry, 
whose conclusion is irresistibly comic. Costume of the day. Scene, a taste- 
fully laid out garden. Time in representation, forty minutes. 



DE WITT'S ACTING PLAYS. 



No. 

41 BEAUTIFUL FOREVER. A Farce in one Rc*,by Fred- 

erick Hay. Two male and two female Characters. A sprightly satirical re- 
buke to tho.se that patronize advertised nostrums. Costumes of the day. 
Scene, a handsome interior. Time in representation, forty minutes. 

42 TIME AND THE HOUR. A Drama in three acts, by 

J Palgrave Sampson and Felix Dale. Seven male and three female charac- 
ters. An excellent acting play, full of life and incident, the parts of 
Medlicott and Marian Beck being capable of impressive representation— all 
others good. Costumes of the present period. Scenery, gardens and ex- 
tenor, cottage and garden, and an old oaken chamber. Time in representa- 
tion, two hours and a half. 

43 SISTERLY SERVICE. An original Comedietta in one\ 

act, by J. P. Wooler. Seven male and two female characters. An interest- 
ing piece. Costumes, rich dresses of the musketeers of Louis XIII. 

Scenes, an apartment of that period, and a corridor in the royal palace of 
France. Time in representation, forty minutes. 

44 WAR TO THE KNIFE, a Comedy in three acts, "by 

Henry J. Byron. Five male and four female characters. A pleasing, enter- 
taining and morally instructive lesson as to extravagant living ; capitally 

adapted to the stage. Costumes of the present time. Scenes, three interiors. 
Time in representation, one hour and three quarters. 

45 OUR DOMESTICS. A Comely Farce in two acts, "by 

Frederick Hay. Six male and six female characters. An irresistibly face- 
tious exposition of high life below stairs, and ol the way in which servants 
treat employers dnring their absence. Costumes of the day. Scenes, 
kitchen and dining room. Time in representation, one hour and a ha. if. 

46 MIRIAM'S CRIME. A Brama in three acts, Tby H. T. 

Craven. Five mal ■• and two female Characters. One of the best acting plays, 
and easily put on the stage. Costumes modern. Scenery, modern English 
interiors, two in number. Time in representation, two hours. 

41 EASY SHAVING. A Farce in one act, hj F. C. Eur- 
nand and M ntagu Williams. Five male and two female characters. A 
neat and effective piece, with excellent parts for low comedian and singing 
chambermaid. Costumes of the days of Charles II of England. Scene, a 
barber's shop. Time in representation, twenty-five minutes. 

48 LITTLE ANNIE'S BIRTHDAY. An original persona- 

tion Farce, by W. E. Suter. Two male and four female characters. A 
good farce, whose effectiveness depends upon a singing young lady, who 
could make the piece a sure success. Costumes modern. Scene, an apart- 
ment in /in English country house. Time in representation, twenty-five 
minutes. 

49 THE MIDNIGHT "WATCH. A Dr.- <ua in one act, hy 

J. Maddison Morton. Eight male and two female characters. A successful 

little play. Costumes of the time of the French Revolution of l^o. Scene, 

the platform of a fortress. Time in representation, one hour. 

50 THE PORTERS KNOT. A serio-e-mlc Drama in two 

acts, by John Oxenford. Eight male and two female characters. Interest- 
ing and thoroughly dramatic. Costumes of the day. Scenes, an interior of 
cottage and exterior of seaside hotel. Time in representation, one hour and 
a quarter. 

51 A MODEL OF A "WIFE. A Farce in one act, hy Alfred 

Wigan. Tare male and two female characters. Most amusing in concep- 
tion and admirably carried out. Costnmes of the day. Scene, a painter's 
studio. Time in representation, thirty-five minutes. 

52 A CUP OF TEA. A Comedietta in one act. Translated 

from the French of Une T<me de Thi. by Charles Nuttier and J. Derley. 
Three male and one female characters. An exquisite petty comedy, well 
adapted for amateur representation. Costumes modern. Scene, handsome 
drawiug room. Time in representation, thirty minutes. 



DE WITT'S ACTING PLAYS. 



53 GERTRUDE'S MONEY BOX. A Farce in one act, by 

Harry Lemon. Four male and two female characters. A successful, well 
written piece ; an incident in rural life. Costumes of the present time. 
Scene, interior of a cottage. Time in representation, forty-five minutes. 

54 THE YOUNG COLLEGIAN (The Cantab). A Farce in 

one act, by T. W. Robertson. Three male and two female characters. A 
rattling piece, filled with ludicrous situations, which could be splendidly 
worked up by a good light comedian. Costumes modern ; and scene, a 
handsome interior. Time in representation, fifty minutes. 

55 CATHARINE HOWARD? cr, the Throne, the Tomb 

and the Scaffold. An historical play in three acts [ from the celebrated 
play of that name, by Alexander Dumas]; adapted by W. D. Suter. Twelve 
male and five female characters. A most successful acting drama in both 
France and England. Costumes of the period of Henry VIII of England, 
artistic and rich. Scenery elaborate and historical. Time in representa- 
tion, two hours and a half. 

58 TWO GAY DECEIVERS ; or, Black, White and Gray. 

A Farce in one act by T. W. Robertson. Three male characters. Adapted 
from the French of one of the most laughable vaudevilles on the Parisian 
stage. Costumes of present day. Scene, a cell in a police station. Time in 
representation, forty minutes. 

57 NOEMIE. A Drama in two acts, translated and adapt- 

ed from the French of Hennery and Clement by T. W. Kobertson. Four 
male and four female characters. Originally acted in Paris, this piece created 
such a sensation that it was produced subsequently at all the leading theatres 
of London. Costumes modern. Scenery, a garden scene and a richly 
furnished interior. Time in representation, one hour and a half. Easily 
put on the stage. 

58 DEZORAH (LEAH); or, the Jewish Maiden's Wrong. 

A Drama in three acts, by Charles Smith Cheltnam. Seven male ami six 
female characters. A stnngely effective acting play. Costumes pictur- 
esque yet simple. Scenery elaborate and cumbersome lo handle. Time in 
representation, two hours and fifteen minutes. Elegant extracts can be 
taken from this drama. 

59 THE POST BOY. An original Drama in two act j, by 

H. T. Craven. Five male and three female characters. Very successful. 
Costumes modern. Scenery, two interiors. Time of playing, an hour and 
a half. 

60 THE HIDDEN HAND; or, the Gray Lady of Perth 

Vennon. A Drama in four acts, by Tom Taylor. Five male and five female 
characters. Costumes of the period of James II of England. Scenery 
somewhat elaborate. Time in representation, two hours and a half. 

61 PLOT AND PASSION. A Drama in three acta [from 

the French], by Tom Taylor. Seven male and two female characters. A 
neat and well constructed play, admirably adapted to amateur representation. 
Costumes of the period of the First Empire, rich and attractive? Scenes, an 
interior in a French mansion, and one in a country villa. Time in represen- 
tation, one hour and a half. 

62 A PHOTOGRAPHIC FIX. A Farce in one act, by 

Frederick Hay. Three male and two female characters. A brilliant, witty 
production. Costumes of the day. Scene, a photographic room. Time in 
representation, thirty-five minutes. 

63 MARRIAGE AT ANY PRICE. A Farce in one act, by 

J. P. Wooler. Five male and. three female characters. A decided success in 
London. Costumes of the day. Two scenes, a plain chamber and a garden. 
Time in representation, thirty minutes. 

64 A HOUSEHOLD FAIRY. A domestic Sketch in one act, 

by Francis Talfourd. One male and one female character. A gem in its line; 
artistic, dramatic and very natural. Modern costumes, and scene a poorly 
furnished apartment. Time in playing, twenty-five minutes. 



DE WITT'S ACTING PLAYS. 



No. 

65 CHECKMATE. A Comedy in two acts, by Andrew Hal- 

liday. Six male and five female characters. Cosl u mee, English, of the pres- 
ent "day. Scenes, interior of a country hotel, and exterior of same, with 
landscape. Time in representation, one hour and a half. 

66 THE ORANGE GIRL. A Drama in a prologue and 

three acts, by Harry Leslie and Nicholas Rowe. Eighteen male and four 
female characters. Costumes of the present day ; tliis piece requires con- 
siderable scenery, and some of an especial nature. Time in representation, 
two hours and a quarter 

67 THE BIRTHPLACE OF PODGERS. A Farce in one 

act, by John Ilollingshead. Seven male and three female characters. A 
capital acting extravaganza, introducing a number of eccentric personages. 
Costumes of the present time. Scene, a workingman's room. Time in repre- 
sentation, forty minutes. 

68 THE CHEVALIER DE ST. GEORGE. A Drama in 

three acts, adapted from the French of MM. Velesviile and Koger de Beauvoir, 
by '1'. W. Kobertson. Nine male and three female characters. A very popu- 
lar and favorite play. Costumes, very rich, in velvet, court and hunting 
dresses, breeches, stockings, &c. Scenery, a tavern and garden, an interior, 
style Louis Seize, and a plainer interior. Time in representation, one hour 
and a half. 

69 CAUGHT BY THE CUFF. A Farce in one act, by 

Frederick Hay. Four male and one female characters. An exquisitely 
ludicrous production, crammed with situations. Costumes of the day. 
Scene, a kitchen. Time in representation, forty minutes. 

70 THE BONNIE FISHWIFE. A Farce in one act, by 

Charles Selby, Comedian. Three male and one female characters. A very 
sprightly piece, in which the lady is required to sing, and to be capable of 
assuming the Scottish dialect. The costumes, although modern, involve 
eccentric Scottish and deer stalking dresses. Scenes, a handsome chamber 
and interior of Highland cottage. Time of playing, forty -five minutes. 

71 DOING FOR THE BEST. A domestic Drama in two 

acts, by M. Rophino Lacy. Five male and three female characters. An 
effective acting piece, popular in London. Costumes of the day. Two scenes, 
one interior of cottage, the other a drawing room. Time in representation, 
one hour and a half. 

72 A LAME EXCUSE. A Farce in one aot, by Frederick 

Hay. Four male and two female characters. Costumes of the day. Scene, 
a handsome interior. Time in represention, thirty-five minutes. 

73 A GOLDEN FETTER (FETTERED). A Drama in tbree 

acts, by Watts Phillips. Eleven male and four female characters. Costumes 
of the present time. Scenery extensive and peculiar to the piece. Time in 
representation, one hour and a half. 

74 THE GARRICK FEVER. A Farce in one act, by J. R. 

Planche. Seven male and four female characters. Costumes of the year 
1742— court dresses, regimentals, velvet trains, &c. Scenery, a plain interior. 
Time of representation, forty-live minutes. 

75 ADRIENNE ; or, the Secret of a Life. Drama in three 

acts, by Harry Leslie. Seven male and three female characters. A telling 
romantic drama. Italian and French costumes, civil and military. Scenery, 
elaborate interiors and landscapes. Time in representation, one hour and 
forty-five minutes. 

76 THE CHOPS OF THE CHANNEL, An original Nauti- 

cal Farce in one act, by Frederick Hay. Three male anil two female 
characters. A very mirth exciting and whimsical composition. Costumes 
of the present day. Scene, the saloon of a steamer. Time in representation, 
forty minutes. 



DE WITT'S ACTING PLAYS. 



No. 

77 THE ROLL OF THE BRUM. A romantic Drama in 

three acts, by Thomas Egerton Wilks. Eight male and four female charac- 
ters. A standard piece with the British theatres. Costumes of the period of 
the first French revolution. Scenery, interior of a farm house, a picturesque 
landscape and a drawing room. Time in representation, one hour and forty- 
five minutes. 

78 SPECIAL PERFORMANCES, A Farce in one act. by 

Wilmot Harrison. Seven male and three lemale characters. A most ludi- 
crous, ingenious and sprightly production. Dresses of the present day. 
Scene, a chamber. Time in performance, forty minutes. 

79 A SHEEP IN WOLF'S CLOTHING. A domestic Drama 

in one act, freely adapted from Madame de Girardin's " Une Femme qui 
detests Son Mari," by Tom Taylor. Seven male and five female characters. 
A neat and pleasing domestic play, founded upon incidents following Mon- 
mouth's rebellion. Costumes of the time of James II of England, Scene, a 
tapestried' chamber. Time of playing, one hour. 

80 A CHARMING PAIR. A Farce in one act, !>y Thomas 

J. Williams. Foht male and three female characters. Costumes of the pre- 
sent day. Scene, a handsomely furnished apartment. Time in representa- 
tion, forty minutes. 

81 VANDYKE RROWNo A Farce in one act, Tby Adolphus 

Charles Troughton. Three male and three female characters. Popular 
wherever performed. Costumes of the present day. Scene, a chamber, 
backed by a window. Time of representation, one hour. 

82 PEEP O' DAY; or, Savouineen Dheelish. An Irish 

romantic Drama in four acts (derived from " Tales of the O'Hara Family"), 
by Edmund Falconer. The New "Drury Lane'' version. Twelve male and 
four female characters. Costumes, Irish, an the year 1798. Scenery, illustra- 
tive of Munster. Time in representation, three hours. 

83 THRICE MARRIED, A personation piece in one act, 

by Howard Paul. Six male and one female characters. The lady sings, 
dances and assumes personification of a French vocalist, of a Spanish dancer 
and of a man of fashion. Costumes of the day. Scene, a raom in a lodging 
house. Time in representation, three quarters of an hour. 

8i IT GUILTY. A Drama in four acts, LyWsvtts Phillips, 

en male and six female characters. A thrilling drama fnund upon a fact. 
Costumes of the present day. Scenery illustrative ol localities about 
« Southampton and its harbor, and of others in India. Time in representa- 
tion, three hours. 

85 LOCKED IN WITH A LADY. A Sketch from Life, 

by H. Pi. Addison. One male and one female character. A very pleas- 
ingand humorous interlude. Costume of the day, and scene a bachelor's 
apartment. Time in representation, thirty-five minutes. 

86 THE LADY OF LYONS ; or, Love and Pri&e. A Play in 

five acts, by Lord Lyiton (Sir Edward Lytton Bulwer). Twelve male five 
female characters. Four of the male characters are very good ones ; and 
Pauline, Madame De~chapeiles and the Widow Melnottfi are each excellent 
in their line. The piece abounds in eloquent declamation and sparklim; 
dialogue. This edition is the most complete in all respects ever issued. It 
occupies three hours in representation. The scenery, gardens and interior 
of cottage and mansion. Costumes French, of 1795. 

87 LOCKED OUT. A Comic Scene, illustrative of what may 

occur after dark in a great metropolis ; by Howard Paul. One male and two 
female characters, with others unimportant. Scene, a street ; dress, mod- 
ern. Time in playing, thirty minutes. 

88 FOUNDED ON FACTS. A Farce in one act, hy J. P. 

Wooler. Four male and two female characters. A favorite acting piece, 
easily put on the stage and never failing in success. Costumes of the pres- 
ent day. Scene, a hotel parlor. Time in representation, thirtv-five minutes. 



No. 

89 AUNT CHARLOTTE'S MAID. A Farce in one act, T y 

J. Maddison Morton. Three inafo and three female characters. One of the 
best of this prolific humorist's dramatic pieces. Dressesof the period, and 
scene an apartment in a dwelling house. Time in representation, forty 

minutes. 

90 ONLY A HALFPENNY, A Farce in one act, "by John 

Oxenford. Two male and two female characters. Dresses of the present 

day, and scene an elegantly furnished interior. Time in representation, 
thirty-live minutes. 

91 WALPOLE 5 or, Every Man has his Price. A Comedy in 

rhyme, by Lor;! Lytton. Seven male and two female characters. Costumes 
of"the period of George I df England. Scenery illustrative of London locali- 
ties, and residences of the same era. Time of playing, one hour and ten 
minutes. 

92 MY WIFE'S OUT. A Farce in one act, by G. Herbert 

.Rodwell. Two male and two female characters. This piece had a suc- 
cessful run at the lovtent Garden Theatre. London. Costume modern, and 
scene an artist's studio. Time in representation, forty minutes. 

93 THE AREA BELLE, A Farce In one act, "by William 

Brough and At drew Hallidav. Three male and tuo female characters. 
Costumes of the present time, and scene a kitchen. Time in performing, 
thirty minutes. ' 

94 OUR CLERKS ; o:c, No. 3, Fig Tree Court, Temple. An 

original Farce, in one- act. Seven male and five female characters. Costumes 
modern, and scene a large sitting room solidly furnished. Time in represen- 
tation, sixty-five minutes. 

95 THE PRETTY HORSE BREAKER. A Farce, "by "Wil- 

liam Brongh and Andrew Ilalliday. Three male and ten female characters. 
Costumes modern English; and scene a breakfast room in a fashionble man- 
sion. Time of playing, forty-five minutes. 

96 DEAREST MAMMA. A Comedietta in one act, hy Wal- 

ter Gordon. Four male and three female characters. Costume modern 
English, and scene a drawing room. Time in representation, one hour. 

97 ORANGE BLOSSOMS. A Comedietta in one act, fcy J. 

P. Wooler. Three male and three female characters. Costume of the 
present day, and scene, a garden with summer house. Time in playing, 
fifty minutes. 

98 WHO IS WHO ? or, All in a Fog. A Farce, adapted 

from the French, by Thomas J. Williams. Three male and two female; char- 
acters. Costumes, modern English dresses, as worn by country -entry ; and 
scene, parlor, in an old fashioned country house. Time of playing, thirty 
minutes. 

99 THE FIFTH WHEEL, A Comedy in thr© 3 acts. Ten 

male and two female characters. An excellent American production, easily 
managed. Costumes of the modern day. Scenery not complicated. Time 
of representation, about one hour and three quarters. 

100 JACK LONG. A D»ama 'n two act-, by J. B. John- 

stone. Nine male and two female characters. Costume of the frontiers. 
Scenery illustrative of localities on the Texan frontier. Time of perform- 
ance, one hour and twenty minutes. 

101 FERN ANDE ; or, Forgive and For ~e 4 . A Drama in tkree 

acts, by Victorien SardOu. Eleven male and ten female characters. This 
is a correct version of the celebrated play as performed in Paris and adapt- 
ed to the English Stage, by Henry L. Williams. Jr. Costumes, modern 
French. Scenery, four interiors. Time In representation, three hours. 

102 FOILED ; or, a Struggle for Life and Liber y. A Drama 

in four acts, by O. W. Cornish. 9 males, 3 females. Costumes, modern 
American. Scenery- a variety of scenes required, but none elaborate. 
Time in representation, three and a half hours. 



DE WITT'S ACTING PLAYS. 



No. 

103 FAUST AND MARGUERITE. A romantic Drama in 

three acts, translated from the French of Michel Carre, hy Thomas 
William liobertson. Nine male and seven female characters. Costumes 
German, of the sixteenth century ; doublets, trunks, tights. Scenery, a 
laboratory, tavern, garden, street and tableau. Time in representation, 
two hours. 

104 NO NAME. A Drama in five acts, by Wilkie Collins. 

Seven male and five female characters. A dramatization of the author's 
popular novel of the same name. Costumes of the present day. Scenery, 
four interiors and a sea view. Time in representation, three hours. 

105 WHICH OF THE TWO. A Comelietta in one act, hy 

John M. Morton. Two male and ten female characters. A very neat and 
interesting petty come ly. Costume Russian. Scene, public room of an 
Inn. Time of playing, fifty minutes. 

106 UP FOR THE CATTLE SHOW. A Farce in one act, 

by Harry Lemon. Six male and two female characters. Costumes Eng- 
lish, of the present day. Scene, a parlor. Time in representation, forty 
minutes. 

107 CUPBOARD LOVE. A Farce in one act, by Frederick 

Hay. Two male and one female characters. A good specimen of broad 
comedy. Dresses modern, and scene, a neatly furnished apartment. 
Time in representation, twenty minutes. 

108 MR. SCROGGINS; or, Change of Name. AF^rce in 

one act, by William Hancock. Three male and three female characters. 
A lively piece. Costumes of the present day. Scene, a drawing room. 
Time in representation, forty minutes. 

109 LOCKED IN. A Comedietta in one act, by J. P. Wool- 

er. Two male and two female characters. Costumes of the period. Scen^, 
a drawing room. Time in representation, thirty minutes. 

110 FOPPLETON'S PREDICAMENTS. A Farce in one 

act, by Charles M. Rae. Three male and six female characters. Costumes 
of the day. Scene, a drawing room. Time in representation, forty min- 
utes. 

111 THE LIAR. A Coino&y in two acts, by Samuel Foote. 

Seven male and two female characters. One of the best acting plays in 
any language. Costumes, embroidered court dresses, silk sacques, &c;- 
still the modern dress will suftice. Scenes— one, a park, the other a draw- 
ing room. Time in representation, one hour and twenty minutes. This 
edition, as altered by Charles Mathews, is particularly adapted for amateurs. 

112 NOT A BIT JEALOUS. A Farce m one act, by T. W. 

Robe.tson. Three male and three female characters. Costumes of the 
day. Scene, a room. Time of playing, forty minutes. 

113 CYRIL'S SUCCESS. A Cimscly in five acts, by Henry 

J. Byron. Ten male and four fe-.nale characters. Costumes modern. 
Scenery, four interiors. Time in representation, three hours twenty 
minutes. 

114 ANYTHING FOR A CHANGE. A petite Comedy in 

one act, by Shirley Brooks. Three male and three female characters. 
Costumes present day. Scene, an interior. Time in representation, fifty- 
one minutes. 

115 NSW MEN AND OLD ACRES. A Comedy in three 

acts by Tom Taylor. Eight male and five female characters. Costumes 
present day. Scenery somewhat complicated. Time in representation, 
two hours. 

116 I'M NOT ME3ILF AT ALL. An original Irish Stew 

in one act, by C. A. Maltby. Three male and two female characters. Cos- 
tume of present day, undress uniform, Irish peasant and Highland dress. 
Scene, a room. Time in playing twenty-eight minutes. 



DE WITT'S ACTING PLAYS. 



117 NOT SUCH A FOOL AS HE LOOKS. A farcical 

Drama in three acts, by Henry J. Byron. Five male and four female char- 
acters. Excellent for amateurs. Costumes of the day. Scenery, three 
interiors. Time in representation, two hours. 

118 WANTED, A YOUNG LADY. A Farce in one act, by 

W. E. Suter. Three male characters. Effective for amateurs. Costumes 
of the day. Scene, a room. Time in playing, forty minutes. 

119 A LIFE CHASE. A Drama in five acts, "by Adolph 

Belot ; translated by John Oxenford and Horace Wigan. Fourteen male 
and five female characters. Costumes modern French. Scenery elaborate. 
Time in representation, two hours and twenty minutes. 

120 A TEMPEST IN A TEAPOT. Petite Comedy in one 

act. Two male and one female characters. Admirably adapted for private 
performance. Costumes of the day. Scene, an interior. Time of repre- 
sentation, thirty-five minutes. 

121 A COMICAL COUNTESS. A Farce in one act, by Wil- 

liam Brough. Three male and one female characters. Costumes French, 
of last century. Scene, a drawing room. Time in representation, forty 
minutes. 

122 ISABELLA ORSINI. A romantic Drama in four acts, 

by S. II. Mosenthal. Eleven male and four female characters. Costumes 
Italian, three hundred years ago. Scenery complicated. Time in repre- 
sentation, three and a half hours. 

123 THE TWO POLTS. A Farce in one act, by John 

Courtney. Four male and four female characters. Costumes modern. 
Scenery, a street and two interiors. Time in representation, forty-five 
minutes- 

124 THE VOLUNTEER REVIEW ; or, The Little Man in 

Green. A Farce in one act, by Thomas J. Williams. Six male and six 
female characters. Easily localized, as the " Home Guard," or " Militia 
Muster. 11 Costumes of the day ; and. scene, a room. Time in representa- 
tion, forty-five minutes. 

125 DEERFOOT. A Farce in one act, by T. C. Bnrnand. 

Five male and one female characters. Costumes of the day; and scene, a 
public house. Time in playing, thirty-five minutes. 

126 TWICE KILLED. A Farce in one act, by John Ox- 

enf ord. Six male aud three female characters. Costumes modern ; scene, 
landscape and a drawing room. Time in playing, forty-five minutes. 

127 PEGGY GREEN. A Farce in on- act, by Charles Selby. 

Three male and ten female characters. Costumes of the present day. 
Scene, a country road. Time in representation, forty-five minutes. 

128 THE FEMALE DETECTIVE; or, The Mother's Dying 

Child. A Drama in three acts, by C. H. Hazlewood. Eleven male and 
four female characters. Costumes of fifty years since. Scenery very 
elaborate. Time of playing two hours. 

129 IN FOR A HOLIDAY. A Farce in one act, by F. C. 

Burnand. Two male and three female characters. Costumes of the period, 
and scene an interior. Time in performance, thirty-five minutes. 

130 MY WIFE'S DIARY. A Farce in one act. From the 

French of MM. Dennery and Clairville, by T. W. Robertson. Throe male 
and one female characters. Costumes modern French, arid scene a drawing 
room. Time in repre:>cntation, fifty minutes. 

131 GO TO PUTNEY. A Faroe in one act, by Harry 

Lemon. Four male and three female characters. Excellent for amateurs. 
Costumes of the day ; scene, a drawing room. Time in representation, 
forty -five minutes. -.. 



DE WITT'S ACTING. PLAYS. 



No. 

132 A RACE FOR A DINNER. A Farce in one act, by 

J. F. G. Kodvvell. Ten male characters. A sterling piece. Costumes of 
the day. Scene, a tavern exterior. Time in representation, sixty minutes. 

133 TIMOTHY TO THE RESCUE. A Farce in one act, 

by Henry J. Byron. Four male and two female characters. In this 
laughable piece Spangle assumes several personifications. Costumes of 
the day, and scene a plain interior. Time in representation, forty-five 
minutes. 

134 TOMPKINS, THE TROUBADOUR. A Farce in one 

act, by MM. Lockroy and Marc Michel. Three male and two female char- 
acters. Costumes modern, and scene an ironmonger's shop. Time in play- 
ing, thirty-five minutes. 

135 EVERYBODY'S FRIEND. A Comedy in three acts, 

by J. Sterling Coyne. Six male and five female characters. Costumes 
modern, and scenery three interiors. Time in performance, two and a 
half hours. 

136 THE WOMAN IN RED. A Drama in three acts and 

Prologue, by J. Sterling Coyne. Six male and eight female characters. 
Costumes French and Italian. Scenery complicated. Time of playing, 
three hoars and twenty-five minutes. 

131 1/ ARTICLE 47; or Breaking the Ban. A Drama in 

three acts, by Adolph iielot, adapted to the English stage by Henry L. 
Williams. Eleven male and five female characters. Costumes French, 
of the day. Scenery elaborate. Time in representation, three hours and 
ten minutes. 

138 POLL AND PARTNER JOE ; or, The Pride of Put- 

ney and the Pressing Pirate. A Burlesque in one act and four scenes, by 
F. C. Burnand. Ten male and three female characters. (Many of the male 
characters are performed by ladies.) Costumes modern, and scenery local. 
Time of playing, one hour. 

139 JOY IS DANGEROUS. A Comedy in two acts, hy 

James Mortimer. Three male and three female characters. Costume, 
modern French. Scenery, two interiors. Time in representation, one 
hour and forty-five minutes. 

140 NEVER RECKON YOUR CHICKENS, &c. A Farce 

in one act, by Wybert Reeve. Three male and four female characters. 
Modern costumes, and scene, an interior. Time in representation, forty 
minutes. 

141 THE BELLS ; or, the Polish Jew. A romantic moral 

Drama in three acts, by MM. Erckmann and Chatrain. Nine male and three 
female characters. Costumes Alsatian', of present date. Scenery, two 
interiors and a court room. Time of playing, two hours and twenty min- 
utes. 

142 DOLLARS AND CENTS, An original American Com- 

edy in three acts, by L. J. Hollenius, as performed by the Murray Hill 
Dramatic Association. Nine male and four female characters. Costumes 
modern, and scenery, three interiors and one garden. Time in represen- 
tation, two and three quarter hours. 

143 LODGERS AND DODGERS. A Farce in one act, hy 

Frederick Hay. Four male and two female characters. Costumes of 
the present time. Scene, a furnished apartment. Time in representation, 
twenty-five minutes. One character a Yorkshire farmer. 

144 THE LANCASHIRE LASS ; or, Tempted, Tried and 

True. A domestic Melodrama in four acts and a Prologue, by Henry J. 
Byron. Twelve male and three female characters. Costumes of the pres- 
ent day. Scenery, varied and difficult. Time in representation, three 
hours. 



DE WITT'S ACTING PLATS. 



150 A TELL-TALE HEART. A Comedietta in one act, by 

Thomas Picton. One male and two female characters. Excellent for 
private representation. Costumes of the day. Scene, a villa room. Time 
in representation, forty minntes. 

151 A HARD CASE. A Farce in one act, hy Thomas 

Picton. Two male characters. A most ludicrous piece for two performers. 
Costumes of the day. Scene, an interior. Time in playing, thirty-tivc 
minutes. 

152 CUPIDS EYE-GLASS. A Comedy in on^ act, by 

Thomas Picton. One male and one female characters. Adapted for ama- 
teur performance. Costumes of the day, and scene, a drawing room. 
Time in represeniatiou, twenty-live minutes. 

153 'TIS BETTER TO LIVE THAN TO BIE. A Farce 

in one act, by Thomas Picton. Two male and one female characters. Can 
be played readily and effectively by amateurs. Costumes, modern, and 
scene, an anist's studio. Time in representation, forty minutes. 

154 MARIA AND MAGDALENA. A Play in fcnr acts, by 

L. J. HoHenius. Eight male, six female characters. An uniformly good 
stock company is alone needed to properly produce this charming piece. 
Costumes modern. Scenery, fine iDteriors and beautiful gardens. Time 
in representation, three hours. 

155 OUR HEROES. A Military Play in five acts, eight 

allegorical tableaux, and ten grand pictures, including a grand transfor- 
mation tableau, by John B. Renauld. Twenty-four male and live 
female characters. Large parties *f retired volunteers can appear with 
great effect in this play. Costumes modern, civil and military. Scenery,' 
interiors of dwellings, encampments and battle-iields. 

156 PEACE AT ANY PRICE. A Farce in one act, by T. 

W. Robertson. One male and one female characters : but a variety of 
voices are heard throughout the piece, the speakers being invisible. A 
capital sketch for two lively amateur comedians, costume modern. 
Scenery— there is but one scene throughout the piece— a meanly furnished 
apartment. Time in representation, twenty minutes. 

157 QUITE AT HOME. A Comedietta in one act,by Arthur 

Sketchley. Five male and two female characters. A real lively taking 
piece. All the characters passable. Costumes modern. Scenery, a shab- 
bily furnished apartment. Time in representation, forty-five miuutes. 



145 FIRST LOVE. A Comedy in one act,byEngene Scribe. 

Adapted to the American stage by L. J. Hollenius. Pour male and one 
female characters. Suitable for amateurs. Modern costumes, and scene, 
a parlor. Time in playing, forty-five minutes. 

146 THERE'S NO SMOKE WITHOUT FIRE. A Cnme- 

dietta in one act, by Thomas Picton. One male and two femaje charac- 
ters. Costumes of the present day, and scene, an apartment. Time in 
representation, forty minutes. 

147 THE OVERLAND ROUTE. A Comedy in throe acts, 

by Tom Taylor. Eleven male and five female characters. Costumes East. 
Indian (European). Scenery, steamship saloon and deck, and coral reef. 
Time in representation, two hours and forty minutes. 

148 CUT OFF WITH A SHILLING. A Comedietta in 

one act. by s. Theyre Smith. Two male and one female characters. Scene, 
a drawing room. Time in playing, twenty-five minutes. 

149 CLOUDS. An American Comedy in fonr acts, by Fred. 

Marsdeu (\Y. A. Sliver). Eight male and seven female characters. Cos- 
tumes of the day. Scenery, cottage, river scene and drawing rooms. Time 
in representation, three hours. 



DE WITT'S ACTING PLAYS. 



No. 

158 SCHOOL. A Comedy in four acts, by T. W. Robertson. 

Six male and six female characters. Is a very superior piece, and has. 
three characters unusually good for either sex. Could be played with fine 
effect at a girls' seminary. Costumes modern. Scenery, English land- 
scape and genteel interiors. Time in representation, two hours and forty 
minutes. 

159 IN THE WRONG HOUSE. A Farce in one act, by 

Martin Becher. Four male aid two female characters. A very justly 
popular piece. Two of the m^le characters are excellent for light and low 
comedian. Good parts, too, for a young and old lady. Costumes modern. 
Scenery, an ordinary room. Time in representation, twenty-five minutes. 

160 BLOW TOR BLOW. A Drama in a Prologue and 

three acts, by Henry J. Byron. Eleven male and six female characters. 
Full of homely pathos as well as rich humor. Has several excellent parts. 
Costumes modern. Scenery, interiors of offices and dwellings. Time in 
representation, three hours. 

161 WOMAN'S VOWS AND MASONS' OATHS. In fonr 

acts, by A. J. II. Duganne. Ten male and four female characters. Has 
effective situations, fine characters and beautiful dialogues. Costumes 
modern, with Federal and Confederate uniforms. Scenery, interiors in 
country houses, and warlike encampments. Time in performance, two 
hours and thirty minutes. 

162 UNCLE'S WILL. A Comedietta in one act, by S. 

Theyre Smith. Two male and one female characters. A brilliant piece ; 
can be easily played in a parlor. Costumes modern, and naval uniform 
for Charles. Scenery, set interior drawing room. Time in representation, 
thirty minutes. 

163 MARCO RETTI. A romantic Drama in three acts, by 

John M. Kingdom. Ten male and three female characters. A thrillingly 
effective piece, full of strong scenes. Costumes, brigands and rich Italian's 
dress. Scenery, interior of castle, mountain passe?, and princely ball 
room. Time in representation, two hours. 

164 LITTLE RUBY ; or, Home Jewels. A domestic Drama 

in three acts, by J. J. Wallace. Six male and six female characters. 
This drama is at once affecting and effective. Little Buby fine per- 
sonation for young prodigy. Costumes modern. Scenery, interior of 
dwelling and gardens. Time in representation, two hours. 

165 THE LIVING STATUE. A Farce in one act, by Joseph 

J. Dilley and James Allen. Three male and two female characters. Brim- 
ful of fun. Trotter a great character for a droll low comedian. Costumes 
modern, with one old Roman warrior dress. Scenery, a plain interior. 

166 BARBELL vs. PICKWICK. A Farcical sketch in 

one act, arranged from Charles Dickens. Six male and two female cha- 
racters. Uncommonly funny. Affords good chance to 'take off " local 
legal celebrities. Costumes modern. Scenery, a court room. Time in 
performance, thirty minutes. 

161 APPLE BLOSSOMS. A Comedy in three acts, by James 

Albery. Seven male and three female characters. A pleasing piece, 
with rich part for an eccentric comedian. Costumes modern English. 
Scenery, exterior and interior of inn. Time in representation, two hours 
and twenty minutes. 

168 TWEEDIE'S RIGHTS. A Comedy in two acts, by 

James Albery. Four male and two female characters. Has several ex- 
cellent characters. John Tweedie, powerful personation ; Tim Whiffler 
very funny. Costumes modern. Scenery, a stone mason's yard and 
modest interior. Time in representation, one hour and twenty-five 
minutes. 



DE WITT'S ACTING PLAYS. 



No. 

169 MY UNCLE'S SUIT. A Farce in one act, oy Martin 

Becher. Four male and one female characters. Has a jolly good low 
comedy part, a fine light comedy one, and ;i brisk, pert lady's maid. 
Costumes modern. Scenery, a well furnished sitting room. Time in rep- 
resentation, thirty minutes. 

170 ONLY SOMEBODY; or, Dreadfully Alarming. A 

Farce In one act, by Conway Edwardes and Edward Cullerne. Four 
male and two female characters. Immensely funny. Full of queer 
incidents. Every way fitted fo: amateurs. Costumes modern Scenery, 
a garden and back of a house. Time of playing, thirty minutes. 

71 NOTHING LIKE PASTE. A Farce in one act, Tby Chas. 

Marsham Rae. Three male and one female characters. Every character 
superexcellent. Billy Doo a regular Burtonian part. Admirable piece 
for amateurs. Costumes modern. Scenery, exterior of a small villa, with 
gardens. Time in representation, forty minutes. 

172 OURS. A Comely in three acts, by T. W. Robertson. 

Six male and three female characters. One of the best and most admired 
plays in our language— while a fair stock company can play it acceptably. 
It has several characters lit for stars. Costumes modern, with British 
military uniforms. Scenery, gardens, park, drawing room, and rude hut 
in the Crimea. Time of representation, two hours and thirty minutes. 

173 OFF THE STAG!?. An entirely original Comedietta 

in one net, by Sydney Rosenfeld. Three male and three female characters, 
all equally excellent. One of the sprightliest, wittiest and most, amusing 
little plays ever written, causing almost an hour's constant merriment. 
Costumes modern. Scene a handsome interior. 

174 HOME. A Comedy in three acts, oy T. W. Robertson. 

Four male, three female characters. A charming piece. Needs but a 
small company. Every character very good. Costumes modern. Only one 
scene throughout the play. Time of representation, two hours. 

175 CAST UPON THE WORLD. An entirely Original 

Drama in five acts, by Charles E. Newton. Ten male, five female charac- 
ters. A remarkably effective piece. Costumes modern. Scenery some- 
what elaborate, but very fine. Time of representation, two hours and 
thirty minutes. 

176 ON BREAD AND WATER. A Musical Farce in one 

act, being a free adaptation from the German, by Sydney Rosenfeld. A 
rollicking little piece. One male and two female characters. Contain ng a 
brilliant soubrette part. Costumes modern. Scene an uncarpeted school 
room. Time in representation, twenty-five minutes. 

177 I SHALL INVITE THE MAJOR. A Parlor Comedy 

in one act, by G. von Moser. Containing five characters, four male and 
one emale. A very pleasing little play, with good parts for all. Very 
bright and witty. Costumes modern. Scene, a handsome interior. Time 
in representation, forty minutes. 

178 OUT AT SEA. An entirely Original Romantic Drama 

in a prologue and four acts, by Charles E. Newton. Sixteen male, rive 
female characters. Powerfully written. Full of strong situations. Very 
telling scenic effects. Costumes modern, Time in representation, two 
hours and ten minutes. 

179 A BREACH OF PROMISE. An extravagant Comic 

Drama in two acts, by T. W. Robertson. Five male, two female charac- 
ters. A capital, very merry piece. G<>od for amateurs. Time in repre- 
sentation, one hour. Scenery, two interiors. Costume, modern. 

180 HENRY THE FIFTH. An Historical Play in five act -. 

By William Shakspeare. Thirty-eight male, five female characters. This 
grand play has a rare blending of the loftiest tragedy, with the richest and 
broadest humor. This edition is the most complete m every respect ever 
published. Costumes rich an 1 expensive. Scenery, etc.. very elaborate. 
Time of representation, three hours. 




" Let those laugh now who never laughed before ; 
And those who always laughed now laugh the more." 

Nothing so thorough and complete in the way of Ethiopian 
and Comic Dramas has ever been printed as those that appear 
in the following list. Not only are the plots excellent, the char- 
acters droll, the incidents' funny , the language humorous, but 
all the situations, by-play, positions, pantomimic business, 
scenery and tricks are so plainly set down and clearly explained, 
that the merest novice could put any of them on the Stage. In- 
cluded in this Catalogue are all the most laughable and effective 
pieces of their class ever produced. 

*#* In ordering, please copy the figures at the commencement of each 
Play, which indicate the number of the piece in " De Witt's Ethiopian 
and Comic Drama." 

21^° Any of the following Plays sent, postage free, on receipt of 
price — fifteen cents. 

Address as on first page of this Catalogue. 



DE WITT'S ETHIOPIAN m COMIC SUM, 



1 THE LAST OF THE MOHICANS. An Ethiopian Sketch, 

by J. C. Stewart. Three mule and one female characters. Costumes of 

the day, except Indian shirts, &c. Two scenes, chamber and wood. Time 
in representation, eighteen minutes. 

2 TRICKS. An Ethiopian Sketch, by J. C. Stewart, Eive 

male and two female characters. Costumes of the period. Two scenes, 
two interiors. Time in representation, eighteen minutes. 

3 HEMMED IN. An Ethiopian Sketch, by J. C. Stewart. 

Three male and one female eharacters. Costumes modern, and scene, a 
studio. Time in representation, twenty minutes. 

4 EH ? WHAT IS IT ? An Ethiopian Sketch, by J. C. Stewart. 

Four male and one female characters. Costumes of the day, and scene, a 
chamber. Time in representation, twenty minutes. 

5 TWO BLACK ROSES. An Ethiopian Sketch, hy J. C. 

Stewart. Pour male and one female characters. Costumes modern, and 
scene, an apartment. Time in representation, twenty minutes. 



DE WITT'S ETHIOPIAN AND COMIC DRAMA. 

No. 

6 THE BLACK CHAP FROM WHITECH APEL. An 

eccentric Negro Piece, adapted from Bnrnand and Williams' *'B. B" by 
Henry L. Williams, Jr. Four male characters. Costumes modern. Scene, 
an interior. Time in representation, thirty minutes. 

7 THE STUPID SERVANT. An Ethiopian Sketch in one 

scene, by Charles While. Two male characters. Characters very droll ; 
lit for star "darky -1 players. Costumes modern and fantastic' dresses. 
Scenery, an ordinary room, 'time in representation, twenty minutes. 

8 THE MUTTON TRIAL. An Ethiopian SI etch in two 

scenes, by James Maffit. Four male characters. Capital burlc-que of 
courts of "justice iV all the parts good, Costumes modern and Uiaker. 
Scenery, a wood view and a court room. Time in representatioiJRrenty 
minutes. 

9 THE POLICY PLAYSRS. An Ethiopian Sketch in ono 

scene, by Charles White. Seven male charact< rs. A very clever satire upon 
a sad vice. Costumes modern, and coarse negro ragged clothes. Scenery, 
an ordinary kitchen. Time in representation, twenty minutes. 

10 THE 5LACK CHEMIST. An Ethiopian Sketch in one 

scene, by Charles wii te. Three male characters. All the characters are 
A 1. funny in tlm extreme. Costumes modern or Yankee -extravagant. 

■iy, an apothecary's laboratory. Time in representation, seventeen 
minutes. 

11 BLACK-EY'D "WILLIAM. An Ethiopian Sketch in two 

scenes, by Charles White. Four male, one female characters. All the 
parts remarkably good. Costumes as extravagant as possible-. Scenery, a 
police court room. Time in representation, twenty minutes. 

12 DAGUERREOTYPES. An Ethiopian Sketch in ono 

scene, by Charles White. Three male characters. Full of broad humor ; 

all characters excellent. Coslumes modern genteel, negro and Yankee 
garbs. Scenery, ordinary room with camera. Time in" representation, 
fifteen minutes. 

13 THE STREETS OF NEXT YORK; or, New York hy 

\u Ethiopian Sketch in one scene, by Charles White. Six male 
characters. Three of the parts very droll ; others good. Costumes some 
modern, some Yankee ana some loaferish. Scenery, street view. Time 
in representation, eighteen minutes. 

14 THE RECRUITING OFFICE. An Ethiopian Sketch in 

one act, by Charles White. Five male characters A piece full of incidents 
to raise mirth. Three of the paits capital. Costumes extravagant, white 
and darkey, and a comical uniform. Scenery, plain chamber and a street. 
Time in representation, fifteen minutes. 

15 SAM'S COURTSHIP. An Ethiopian Farce in one act, 

by Charles White. Two male and one female characters. All the charac- 
ters particularly jolly. Two of the parts can be played in either white or 
black, and one m Dutch. Costumes Yankee and modern. Scenery, plain 
chamber. Time in representation, twenty minutes. 

16 STORMING THE FORT. A hurlesque Ethiopian Sketch 

in one scene, by Charles White. Five male characters, ttfchly ludicrous ; 
all the characters funny. Costumes fantastical, and extravagant military 

uniforms. Scenery, ludicrous "take off" of fortifications. Time in repre- 
sentation, fifteen minutes. 

17 THE GHOST. An Ethiopian Sketch in one act, *y 

Charles White. Two male characters. A right smart piece, full of laugh. 
Costumes ordinary "darkey " clothes. Scenery common looking kitchen. 
Time in representation, fifteen-minutes. 

18 THE LIVE INDIAN ; or, Jim Crow. A comical Ethi- 

opian Sketch in four scenes, by Dan Bryant. Four male, one female 
characters. As full of fun as a hedgehog is full of bristles. Costumes 
modern and darkey. Scenery, chamber and street. Time in representation, 
twenty minutes. 



DE WITT'S ETHIOPIAN AND COMIC DRAMA. 

No. 

19 MALICIOUS TRESPASS; or, Points of Law. An Ethi- 

opian Sketch in one scene, by Charles White. Three male characters. 
Extravagantly comical ; all the parts very good. Costumes extravagant 
modern garbs. Scenery, wood or landscape. Time of playing, twenty 
minutes. 

20 GOING FOR THE CUP ; or, Old Mrs. Williams' Dance. 

An Ethiopian Interlude, by Charles White. Four male characters. One 
capital part for a bright juvenile ; the others very droll. Costumes modern 
and darkey. Scenery, a landscape or wood. Time in representation, 
twenty minutes. 

21 SCAMPINI. An anti-tragical, comical, magic »I and 

laughable Pantomime, full of tricks and transformations, in two scenes, 
by Edward Warden. Six male, three female characters. Costumes extra- 
vagantly eccentric. Scenery, plain rustic chamber. Time in representa- 
tion, thirty minutes. 

22 OBEYING ORDERS. An Ethiopian Military Sketch in 

one scene, by John Arnold. Two male, one female characters. Mary 
Jane, a capital wench part. The piece very jocose. Costumes ludicrous 
military and old style dresses. Scenery either plain or fancy chamber. 
Time of playing, fifteen minutes. 

23 HARD TIMES. A Ne»ro Extravaganza in one scene. 

by Daniel D. Emmett. Five male, one female characters. Needs several 
good players— then there is " music in the air." Costumes burlesque, 
fashionable and low negro dresses. Scenery, a kitchen. Time in represen- 
tation, twenty minutes. 

24 BRUISED AND CURED. A Negro Bnrlesque Sketch in 

one scene, by A. J. Leavitt. Two male characters. A rich satire upon 
the muscular furore of the day. Costumes tights and guernsey shirts 
and negro dress. Scenery, plain chamber. Time in representation, twenty 
minutes. 

25 THE FELLOW THAT LOOKS LIKE ME. A laughable 

Interlude in one scene, by Oliver Durivarge. Two male characters— one 
female. Boiling over with fun, especially if one can make up like Lester 
Wallack. Costumes genteel modern. Scenery, handsome chamber. Time 
in representation, twenty-five minutes. 

26 RIVAL TENANTS. A Negro Sketch, "by George L. Stout. 

Four male characters. Humorously satirical ; the parts all very funny. 
Costumes negro and modern. Scenery, an old kitchen. Time of playing, 
twenty minutes. 

27 ONE HUNDREDTH NIGHT OF HAMLET. A Negro 

Sketch, by Charles White. Seven male, one female characters. Affords 
excellent chance for imitations of popular "stars." Costumes modern, 
some very shabby. Scenery, plain chamber. Time in representation, 
twenty minutes. 

28 UNCLE EPH'S DREAM. An Original Negro Sketch in 

two scenes and two tableaux, arranged by Charles White. Three male, 
one female characters. A very pathetic little piece, with a sprinkling of 
humor. Costumes, a modern southern dress and negro toggery. Scenery, 
wood, mansion and negro hut. Time in representation, twenty minutes. 

29 WHO DIED FIRST? A Negro Sketch in one Scene, by 

A. J. Leavitt. Three male, one female characters. Jasper and Hannah 
are both very comical personages. Costumes, ordinary street dress and 
common darkey clothes. Scenery, a kitchen. Time in representation, 
twenty minutes. 

30 ONE NIGHT IN A BAR ROOM. A "inrlesqne Sk^ch, 

arranged by Charles White. Seven male characters. Has a funny Dutchman 
and two good darkey characters. Costume, one Dutch and several mod- 
ern. Scenery, an ordinary interior. Time in representation, twenty min- 
utes. 



DE WITT'S ETHIOPIAN" AND COMIC DRAMA. 

No. 

31 GLYCERINE OIL. An Ethiopian Sketch, by John Ar- 

nold. Three male characters, all good. Costumes, Quaker and eccentric 
modern. Scenery, a street and a kitchen. Time in representation, fifteen 
minutes. 

32 WAKE UP, WILLIAM HENRY. A Negro Sketch, ar- 

ranged by Charles White. Three male characters, which have been favor- 
ites of our best performers. Costumes modern — some eccentric. Scenery 
plain chamber. Time in representation, ten minutes. 

33 JEALOUS HUSBAND. A Negro Sketch, arranged by 

Charles White. Two male, one female characters. Full of fai\ ical dia- 
logue. Costumes, ordinary modern dress. Scenery, a fancy rustic cham- 
ber. Time in representation, twenty minutes. 

34 THREE STRINGS TO ONE BOW. An Ethiopian Sketch 

in one scene, arranged by Charles WLite. Four male, oue female charac- 
ters. Full of rough, practical jokes. Costumes, modern. Scenery, a land- 
scape. Time in representation, fifteen minutes. 

35 COAL HEAVERS' REVENGE. A Negro Sketch in one 

scene, by George L. Stout. Six male characters. The two coal heavers 
have " roaring" parts. Costumes, modern, Irish and negro comic make 
up. Scenery, landscape. Time in representation, twenty minutes. 

36 LAUGH -NG GAS. A Negro Burlesque Sketch in one 

scene, arranged by Charles White. Six male, one female characters. Is a 
favorite with our best companies. Costumes, one modern genteel, the rest 
ordinary negro. Scenery, plain chamber. Time of playing, fifteen min- 
utes. 

37 A LUCKY JOB. A Negro Farce in two scenes, arranged 

by Charles White. Three male, two female characters. A rattling, lively 
piece. Costumes, modern and eccentric. Scenery, street and fancy cham- 
ber. Time in representation, thirty minutes. 

38 SIAMESE TWINS. A Negro Burlesque Sketch, in two 

scenes, arranged by Charles White. Five male characters. One of the 
richest in fun of any going. Costumes, Irish, darkey and one wizard's 
dress. Scenery, a street ana a chamber. Time in representation, twenty- 
five minutes. 

39 WANTED A NURSE. A laughable S etch in cne 

scene, ; rranged by Charles White. Four male characters. All the charac- 
ters first rate. Costume, modern, extravagant, one Dutch dress. Scenery. 
a plain kitchen. Time in representation, twenty minutes. 

40 A BIG MISTAKE. A Negro Sketch in one scene, hy 

A. J. Leavitt. Four male characters. Full of most absurdly funny inci- 
dents. Costumes, modern ; one policeman's uniform. Scenery, a plain 
chamber, lime in representation, eighteen minutes. 

41. CREMATION. An Ethiopian Sketch in two scenes, hy 

A. J. Leavitt. Eight male, one female characters. Pull of broad, palpable 
hits at the last sensation. Costumes modern, sonic eccentric. Scenery, a 
street and a plain chamber. Time in representation, twenty-five minutes. 

42. BAD WHISKEY. A comic Irish Sketch in one scene, 

by Sam Rickey and Master Barney. Two male, one female characters. 
One of the very best of its class. Extravagant low Irish dress and a police- 
man's uniform. 

43 BABY ELEPHANT. A Negro Sketch in tnro rcenes. 

By J. C. Stewart. Seven male, one female characters. Uproariously comic 
in idea and execution. Costumes, modern. Scenery, one street, one 
chamber. Time in representation, twenty-five minutes. 

44 THE MUSICAL SERVANT. An Ethiopian Sketch in 

one scene, by Phil. II. Mowrey. Three male characters. Very original 
and very droll. Costumes, modern and low darkey. Scenery, a plain 
chamber. Time in representation, fifteen minutes 



DE WITT'S ETHIOPIAN AND COMIC DRAMA. 



45 REMITTANCE FROM HOME. An Ethiopian Sketch in 

one scene, by A. J. Leavilt. Six male characters. A very lively piece, 
full of bustle, and giving half a dozen people a good chance. Time in repre- 
sentation, twenty minutes. 

46 A SLIPPERY BAT. An Ethiopian Sketch in one scone, 

by Robert Hart. Six male, one female characters. By a very simple mechan- 
ical contrivance, plainly planned and described in this book, a few persons 
can keep an audience roaring. Time in representation, sixteen minutes. 

47 TAKE IT, DON'T TAKE IT. A Negro Sketch in one 

scene, by John Wild. Two male characters. Affords a capital chance for 
two good persons to "do" the heaviest kind of deep, deep tragedy. 
Time'of representation, twenty-three minutes. 

48 HIGH JACK, THE HEELER. An Ethiopian Sketch in 

one scene, by A. J. Leavitt. Six male characters. Happily hits off the short- 
haired bragging "lighters" that can 1 1 lick a piece of big tally. Time of 
playing, twenty minutes. 

49 ANIGHT XN A STRANGE HOTEL. A laughahle Negro 

Sketch in one scene, arranged by Charles White. Two male characters. Al- 
though this piece has only two personators, it is full of fun. Time in rep- 
resentation, eighteen minutes. 

50 THE DRAFT. A Negro Sketch in one act and two scenes, 

by Charles White. Six male characters. A good deal of humor of the Mulli- 
gan Guard ; nd Awkward Squad style, dramatized. Time in representation, 
eighteen minutes. 

51 FISHERMAN'S LUCK. An Ethiopian Sketch in one 

scene, by Charles White. Two male characters. Decidedly the best " fish 
story " ever told. It needs two "star " darkeys to do it. Time in represen- 
tation, fifteen minutes. 

52 EXCISE TRIALS. A Burlesque Negro Sketch in one 

scene, arranged by Charles White. Ten male, one female characters. Full of 
strong local satire ; can be easily adapted to any locality. Time of repre- 
sentation, twenty minutes. 

53 DAMON AND PYTHIAS, A Negro Burlesque, by Chas. 

White. Five male, one female characters, in two scenes. A stunning bur- 
lesque of the highfalutin melodrama ; capital for one or two good imita- 
tors. Time of representation, fifteen minutes. 

54 THEM PAPERS. An Ethiopian Sketch in one scene, ty 

A. J. Leavitt. Three male characters. Full of comical mystifications and 
absurdly funny situations. Time of representation, fifteen minutes. 

55 RIGGING A PURCHASE. A Negro Sketch in one scene, 

by A. J. Leavitt. Three male characters. Full of broad comical effects. 
Time in representation, fifteen minutes. 

56 THE STAGE STRUCK COUPLE. A laughahle Inter- 

lude in one scene, by Charles White. Two male, one female characters. 
Gives the comical phase of juvenile dramatic furor; very droll, contrasted 
with the matter-of-fact darkey. Time in representation, fifteen minutes. 

57 FOMPEY'S PATIENTS. A laughable Interlude in two 

scenes, arranged by Charles White. Six male characters. Very funny 
practical tricks of a fast youth to gain the governor's consent to his wed- 
ding his true love. Half a dozen good chances for good actors. Time in 
representation, twenty minutes. 



DE WITT'S ETHIOPIAN AND COMIC DRAMA. 



58 GHOST IN A PAWN SHOP. An Ethiopian Sketch in 

one scene, by Mr. Mackey. Four male characters. As comical as its title ; 
running over with practical jokes. Time of representation, twenty min- 
utes. 

59 THE SAUSAGE MAKERS. A Nejrro Burlesque Sketch 

in two scenes, arranged by Charles White. Five male, one female charac- 
ters. An old. story worked up with a deal oflaughablo effect. The ponder- 
ous sausage machine and other properties need not cost more than a 
couple of dollars. Time of representation, twenty minutes. 

60 THE LOST WILL. A Negro Sketch, hy A. J. Leavitt. 

Four male characters. Very droll from the word "go." Time of repre- 
sentation, eighteen minutes. 

61 THE HAPPY COUPLE, A Short Humorous scene, ar- 

ranged by Charles White. Two male, one female characters. A spirited 
burlesque of foolish jealousy. Sam is a very frolicsome, and very funny 
young darkey. Time of playing, seventeen minutes. 

62 VINEGAR BITTERS. A Negro Sketch in one coene, ar- 

ranged by Charles White. Six male, one female characters. A broad bur- 
lesque of the popular patent medicine business ; plenty of humorous inci- 
dents. Time of representation, fifteen minutes. 

63 THE DARKEY'S STRATAGEM. A Nogro Sketch in one 

act, arranged by Charles White. Three male, one female characters. Quaint 
courtship scenes of a pair of young darkies, ludicrously exaggerated by the 
tricks At' the boy Cupid. Time of representation, twenty minutes. 

64 THE DUTCHMAN'S GHOST. In one scene, by Larry 

Tooley. Four male, one female characters, Jacob Schrochorn, the jolly 
shoemaker and '*'..< Iran, are rate ones for raising a hearty laugh. Time of 
representation, fifteen minutes. 

65 PORTER'S TROUBLES. An Amusing Sketch in one 

scene, by Ed. Ilarrigan. Sis male, one female characters. A laughable ex- 
position of the queer freaks of a couple of eccentric lodgers that pester a 
poor "porter." Time in repres ighteen minutes. 

66 FORT WINE vs. JEALOUSY. A Highly Amusing 

Sketch, by William Carter. Two maie, one female characters. Twenty 
minutes jammed full of the funniest kind of fun. 

61 EDITOR'S TROUBLES. A Farce in one scene, hy Ed- 
ward Harrigan. Six male characters. A broad farcical description of the 
running of a country journal ''under difficulties." Time of represen ra- 
tion, twenty-three minutes. 

68 HIPPOTHEATRON OR BURLESQUE CIRCUS. An 

Extravagant, funny Sketch, by Charles White. Nine male characters. A 
rich burlesque of .-ports in the ring and stone smashing prodigies, Time of 
playing, varies with "acts" introduced. 

69 SQUIRE FOR A BAY. A Negro Sketch, hy A. J. 

Leavitt. Five male, one female characters. The "humor of it" is in the 

mock judicial antics of a darkey judge for a day. Time of representation, 
twenty minutes. 

70 GUIDE TO THE STAGE. An Ethiopian Sketch, hy Chas. 

White. Three male characters. Contains some thumping theatrical hits of 
the "Lay on Macduff," style. Time of playing, twelve minutes. 



MAHTJSCBIPT PLAVS. 



Below will be found a List of nearly all the great Dramatic 
successes of the present and past seasons. Every one of these 
Plays, it will be noticed, are the productions of the most eminent. 
Dramatists of the age. Nothing is omitted that can in any 
manner lighten the duties of the Stage Manager, the Scene 
Painter or the Property Man.' 



ON THE JURY. A Drama, in fonr Acts. By Walts Phil- 
lips. This piece has seven male and four female characters. 

ELITE; or, THE CHERRY TREE INN. A R mantic 
Drama, in three Acts. By Dion JBoucicault. This piece has six male and 
four female characters. 

THE TWO THORNS. A Comedy, in four Ac p. By James 

Albery. This piece has nine male and three female characters. 

A WRONG MAN IN THE RIGHT PEACE. A Farce, in 

one Act. By John Oxenford. This piece has one male and three female 
characters. 

JEZEBEL ; or, THE DEAD RECKONING. Ey Dion Bou- 

cicault. This piece has six male and fiv. female characters. 

THE RAPAREE ? or, THE TREATY OF LIMERICK. A 

Drama, in three Acts. By Dion Boucicault. This piece has nine male and 
two female characters. 

'TWIXT AXE AND CROWN; or, THE LADY ELIZA- 

beth. An Historical Play, in five Acts. By Tom Taylor. This piece has 
twenty-five male and twelve female characters. 

THE TWO ROSES. A Comedy, in three Acts. By James 

Albery. This piece has five male and four female characters. 

M. P. (Member of Parliament) A Comedy, in fonr Acts. 

By T. W. Robertson. This piece has seven male and five female characters. 

MARY WARNER. A Domestic Drama, in fonr Acts. By 

Tom Taylor. This piece has eleven male > nd five female characters. 

PHILOMEL. A Romantic Drama, in three Acts. By H. T. 

Craven. This piece has six male and four female characters. 

UNCLE DICKS DARLING. A Domestic Drama, in three 

Acts. By Henry J. Byron. This piece has six male and five female cha- 
racters. 

LITTLE EM'LY. (David CopnerfieM.) A Drama, in four 

Acts. By Andrew Halliday. "Little EmTy" has eight male and eight 
female characters. 



DK WITT'S MANUSCRIPT PLATS. 



FORMOSA. A Drama, in four Acts. By Dion Boucicault. 

This piece has eighteen male and eight female characters. 

HOME. A Comedy, in three Acts. By T. W. Robertson. 

" Home " has four male and three female characters. 

AN ENGLISH GENTLEMAN ; or, THE SQUIRE'S LAST 

Shilling. A Drama, in four Acts. By Henry J. Byron. This piece con- 
tains nine male, four female characters. 

FOUL PLAY. A Drama, in four Acts. By Dion Boucicault. 

This piece has fourteen male and two female characters. 

AFTER DARK. A Drama, in four Acts. By Dion Bouci- 
cault. This piece has fourteen male and two female characters. 

ARRAH-NA-POGUE. A Drama, in three Acts. By Dion 

Boucicault. This piece has fourteen male and two female characters. 

BREACH OF PROMISE. A Comic Drama, in two Acts. By 
T. W. Robertson. The piece has five male and two female characters. 

BLACK AND WHITE. A Drama, in thre^ Acts. ByWilkie 

Collins and Charles Fechter. This piece has six male and two female cha- 
racters. 

PARTNERS FOR LIFE. A Comedy, in three Acts. By 

Henry J. Byron. This piece has seven male and four female characters. 

KERRY ; or, Night and Morninp:. A Comedy, in ouo Act. 

By Dion Boucicault. This piece contains four male and two female char- 
acters. 

HINKO ; or, THE HEADSMAN'S DAUGHTER. A Roman- 
tic Play, in a Pro oguc and live Acts. By W. G. Wills. The Prologue con- 
tains four male and throe female characters. The Play contains ten male 
and seven female characters. 

NOT IF I KNOW IT. A Farce, in one Act. By John Mad- 
dison Morton. This piece contains four male and four female charact. rs. 

DAISY FARM. A Drama, iu four Acts. By Henry J. Byron 

This piece contains ten male and four female characters. 

EILEEN OGE ; or. DARKS THE HOUR BEFORE THE 
Dawn. A Drama, in four Acts. By Edmund Falconer. This piece con" 
tains fifteen male and four female characters. 

TWEEBIE'S RIGHTS. A Comedy-Drama, in two Acts. By 

James Albery. This piece has four male, two female characters. 

NOTRE DAME; or, THE GIPSY GIRL OF PABIS. A 

Romantic Drama, in three Acts. By Andrew Halliday. This play has 
seven male, four female characters. 

JOAN OF ARC. A Tragedy, in Five Acts. By Tom Taylor. 

This piece has twenty-one male, four female characters. 



Manuscript copies of these very effective and very suc- 
cessful plays are now ready, and will be furnished to Man- 
agers on very reasonable terms. 



DE WITT'S EtOGtJTIOJJABT SERIES, 

PRICE 15 CENTS EACH. 



Young people who ivere desirous of acquiring a practical knowledge of the beauti- 
ful, as-well as highly use) r ul art of Reading and Speaking correctly and elegantly, 
have found great difficulty in procuring books that would teach them rather in the 
manner of a ge ial friend than an imperious master. Such books we here present 
to the public in" De Witt's Elocutionary Series.' 1 '' Not only are the selections made 
very carefully from the abundant harvest of dramatic literature, but the accompany- 
ing instructions are so plain, direct and forcible, that the least intelligent can 
easily understand all the rules and pi ecepts of the glorious a 1 1 that has immortalized 
Boscius and Kean, Chatham and Henry. 



No. I. THE ACADEMIC SPEAKER. Containing an un- 
usual variety of striking Dramatic Dialosues, and other most effective 
scenes. Selected with great care and judgment from the noblest and 
-wittiest Dramas, Comedies and Farces most popular upon the best stages. 
Interspersed with such able, plain and practical criticisms and remarks 
upon Elocution and stage efiects, as to render this work the most valuable 
hand-book to the young orator that has fever been produced. 

COIVTEIVTS — General Introductory Remarks ; On the quality of Selections ; On True Eloquence ; 
On Awkward Delivery ; On Necessity of Attentive Study ; On Appropriate Gesture ; On the 
Appearance oTLadies upon the Stage ; The Stage and the Curtain ; Remarks upon the subject 
of Scenery ; How fen easily Construct a Stage : Stage Arrangements and Properties : Remarks 
upon improvising Wardrobes, etc., etc. There are Tu-clre pieces in this hook that require two 
Male Characters ; Six pieces that require six Male Characters ; Tioo pieces that require Jour 
Male Characters. 

No. 2. THE DRAMATIC SPEAKER. Composed of many 

% very carefully chosen Monologues, Dialogues and other effective Scenes, 

from the most famous Tragedies, Comedies and Farces. Interspersed with 
numerous Directions and Instructions for their proper Delivery and Per- 
formance. 

COIVTJEfV'rS.— There are three pieces in this hook that require ,911? Male Character; Que that requires 
three Male Charade s ; Ten that require lira Male Characters , Nine that require one Male and 
one Female Characters ; Four that require three Male Characters : One. that requires two Male and 
one Female Characters ; One that tequiies tiro Female Characters ; One that requires one Male aud 
two Female Characters. 

No. S. THE HISTRIONIC SPEAKER. Being a careful 

compilation of the mo'st amusing Dramatic Scenes, light, gay, pointed, 
witty and sparkling. Selected from the most elegantly written and most 
theatrically effective Comedies and Farces upon the English and American 
Stages. Properly arranged and adapted for Amateur and Parlor Represen- 
tation. 

C03STEWTS. — Three of the pieces in this hook require turn Female Characters; One piece requires 
si in n i-Vniale. Characters ; Nineteen pieces that 1 eqtiire one Male and one Female Characters ; One 
Ijiece that requires one Male and two Female Chara ters ; One piece that requires tiro Maie and 
one Female Characters. 

No. 4. THE THESPIAN SPEAKER. Being the hest Scenes 

from the best Plays. Every extract is preceded by valuable and very plain 
observations, teaching the young Forensic Student how to Speak and Act 
in the most highly approved manner. 

COSTE\TS — Fine of the pieces in this hook require one Male and one Female Characters ; Three of 
the pieces requireMree Male Characters"} Three'oi the-pieces require two Male and one Female 
CharacteiS ; Seven o! the pieces require hco Male Characters ; One of the pieces require one Male 
and one Female Characters : Two of the pieces require two Male and two Female Characters ; One 
o! the pieces require four Male and Jour Female Characters ; Three of the pieces require three 
Male and one Female Characters. 

*$.* Single copies sent, on receipt of price, postage free. 
Address as per first page of this Catalogue, 



No. Composer 
88. Last Farewell Tudor. 

86. My Heart is Thine Anone. .Qiover. 

87. Come Back to ..rib .Claribel. 

88. Morn on the Meadow. .. Wrighton. 

90. Sad Brown Leaves Chantrey. 

91. Fond Memory Qiover. 

92. I Heard a Spirit Sing Taylor. 

94. Autumn Twilight Glover. 

95. Rocked in the Cradle of the 

Deep Tucker. 

98. Origin of the Harp Moore. 

OO. Strangers Yet Claribel. 

Sweet Land of Tyrol Theresa. 

My Pretty Bird, Sing On. 

Llndbland. 

Spring and Autumn Tucker. 

Upon the Snowy Mountain Tops. 
Moller. 

Ave Maria Guenod. 

Believe Me if all Endearing 

Charms Moore. 

Children's Voices , Claribel. 

Long, Long Weary Day.. .Tucker. 
Why was I Looking Out? 

Blumenthal. 
Angels Ever Bright and Fair. 

Tucker. 

Annie Laurie Tucker. 

My Pretty Jane Bishop. 

Distant Land Henslett. 

Dream of Love Rodwell. 

I Love and I am Beloved. .Richard. 

Xenia Lutz. 

On the Mountains Benedict. 

Oh. Waly, Waly, dp the Bank. 

Blumenthal. 

The Birds were Telling One 

Another Smart. 

Come Sit Thee Down Sinclair. 

The Standard Bearer. .Lindpainter. 

Shells of Ocean Cherry. 

Isle of Beauty, Fare Thee Well. 

Bajley. 

Bloom Again, Sweet Prison 

Flower Young. 



lOS. 
103. 



ie7. 
no. 

11 J. 

IIS. 

116. 

IT*. 

1«*. 
193. 
184. 
1SS. 

i«7. 
iss. 
ie9. 

130. 
131. 



134 
135, 



.Ya. 

i:w, 

138. 



145, 
146. 

147, 



159. 
154, 



leo, 

163, 

164 
165 

166. 
167. 
168. 
169. 

no 

174 
175 

178. 

180 
188 
186. 
196 
197 



Composer. 

Ever of Thee Hull. 

As I'd Nothing Else to Do. 

Hatton 

Grieve Not for Me Wrighton. 

I Cannot Sing the Old Songs. 

Claribel. 

Why Do Summer Roses Fade? 

Baiker. 

I Cannot Mind my Wheel, 

Mother Llnley. 

Araby's Daughter. Klallmark. 

Young Jenny Allen. 

O Fair Dove ! O Fond Dove ! 

Oatty. 

Oh, Keep Me in Vour Memory. 

Glover. 

Upon the Danube River. ..Tucker. 

Just Touch the Harp Gently, My 

Pretty Louise Blamphiu 

When the Corn is Waving, 

Annie Blamphin 

Love's Secret Tucker 

When my Ship Comes Home. 

Lee. 

Bird on the Tree Nlsh. 

Yeoman's Wedding Song, 

Ponlatowski. 

Linden Waltx Aide. 

Michael Bray Philp. 

Lover's Pen. . ? Ponlatowski. 

Eily's Reason Molloy. 

With the Stream Toura. 

Out in the Cold Bagnall. 

The "Wishing Cap Wrighton 

The Island of Green. 

Arranged by Tucker. 

Meeting in Heaven Wrighton. 

Jenny of the Mill Leduc. 

Esmeralda Levey. 

Heavenly Golden Shore. Rosenthal. 
Don't You Bemember, Love ? 

Lawrence. 

Hark! the Drum Nleh. 

. Anita (the Chieftain's Wlfe^. 
Richards. 



OPERATIC SONGS. 



lO. Little Blue Butterfly Herve. 

87. Loving Daughter's Heart Balfe. 

SO. Paradise of Love Balfe. 

69. O Rare Malvoisie ! Offenbach. 

71. Light of Other Days Balfe. 

73. Rfaotomago's Partner Fair. 

Offenbach. 
77. Ah! What a Fate! Offenbach. 

80. Then You'll Remember Me..Balie. 

81. Turtle Doves Offenbach. 

83. 'Tis Sad to Leave Our Father. 

land Balfe- 



84. On Yonder Rock Reclining.. .Anber. 

85. Walk IId Now, This is No Hum- 

bug. 
89. Song of the Tight Rope Dancer. 

Offenbach. 

93. These Aching Teeth Offenbach. 

97. Painted so Fine— Eyes Divine. 

Offenbach. 

99, Anvil Chorus Verdi. 

lOl. Fool, You may Say it if You 
Please Offenbach. 



LIBRARY OF CONGRESS 



ifo. Qrmpoarr. 

lOS. Ob. Flower* so Fair and Sweet. 

Offenbach. 

108. IHignnn Thomas. 

109. Pleased -with Myself Offenbach. 

111. Heart Bowed Down Balfe. 

Its. Young Agnes. Beauteous 

Flower Auber. 

113. I Dreamt I Dwelt in marble 

Halls. Balfe. 

118. Her Gentle Voice Expressed, etc. 

Balfe. 




No 
ft 

l»w. nnjr LiagenMouraer Mrmor;'.' 

Mellow. 

121. List te tbe Gay Castanet ... .Balfe. 

126. The Ball Thome*. 

142. My Own. My Guiding Star. 

Macfarren. 

143. Ah! So Pure Flotow. 

15S. Where shall 1 Take my Bride ? 

Borne. 



COMIC AND SERIO COMIC SONGS. 



1. Pretty Polly, if you Love Me. 

Coote. 
9. Fisherman's Daughter Bagnall. 

4. I'll Tell Your Wife Egerton. 

5. Up in a Balloon Bunt. 

9. Captain Jinks Maclagan. 

11. Champagne Charlie l.ee 

IS. Thady O'Flynn Molloy. 

13. Tassels on the Boots Tucker. 

IS. Tommy Dodd Clarke. 

V9. That's the Style for Me Young. 

18. Pretty Little Flora Leyborne. 

19. Bother the Men Walker 

SBS. I Wish I was a Fish Hunt. 

94. Put it Down to Me Gatty 

98. Oh, Wouldn't You Like to Know? 

Musgrave. 

30. Where is my Nancy? Hunt. 

33. Immenseikott* Lloyd. 

38. Good-bye, John; or, Chickabiddy. 
40. Beau of Saratoga Vance. 

49. Not for Joseph Lloyd. 

44. California Gold Hunt. 

48. Susan, Susan, Pity my Confusion 

Barnam. 

50. Walking ir the Park.. Lee. 

SS. Bell Goes a-Biuging for Sa-i.rah. 

Hunt. 
S3. Call Her Back and Kiss Her. 

Minasi. 

S6. Flying Trapeze Lee. 

S8. It's Nice to be a Father Hunt. 



ltSl. 
1S3 



1ST. 

1S8. 

ies. 
Ml. 
it*. 

1T3. 
176. 
181. 
183. 
184. 
18S. 



ISO 
191. 



198 
193 



. She Danced Like a Fairy.. Dudley. 
. I Never Go East of Madison 
Square. 

. Lancashire Lass Williams. 

. Bowing Home in the Morning. 
Edgerton. 
If Ever I Cease to Love. .Leybourne. 
. His Heart was True to Poll. 

Tucker. 
I'm a Timid, Nervous Man. 

Cherry. 
Bhein Wine Sharley. . .Leybourne. 

Heathen Chinee Tucker. 

Housekeeper's Woes Fechter. 

Down in a Coal Mine. . Geoghegan. 

Dolly Yarden Lee. 

Little Coojuette Lee. 

Good-bye, Charlie Hunt. 

Bom! Bona! Bonn! Bunt. 

Modern Times Coote. 

The Hardware Line Banke. 

Jack's Present Byron. 

When the Band Begins to Play. 
Hunt. 
Upon the Grand Parade ... Daviee. 
Ada -with the Golden Hair. 

G. W. M. 

Awfully Clever Hunt. 

Perhaps She's on the Hailway. 

McCarthy. 

Mother Says I Mustn't Hunt. 



MOTTO SONGS. 



34. "Way of the World Ellery. 

36. It's All the Same to Sam... Hunt. 

46. It's Better to Laugh than to Cry. 

Clifton. 

S4. On. Boys, On, the Course is 

Always Clear Petchet. 

60. Act on the Square, Boys Lee. 

[V9. A Bit of my Mind .Bell. 

79. An Old Man's Advice Tinney. 

H"S. Up and be Doing. Smith. 

188. Ten Minnrtes Too Late Clifton. 



19S. "Would You be Surprised '. 
199. O'Donnell Aboo 



..Coote. 
Morine. 



149. Popular Airs for Little Fingers. 

No. 1 . Walking in the Park ; Beautiful 
Bells. 

150. Popular Airs for Little Fingers. 

No 2. Captain Jinks ; Tapping at the 
Garden Gate. 
161. Berger Family •« Bells Masurka." 



